Chicago Sun-Times Review of Pohaku
"Revolutionary Acts' isn't just the overarching theme of ConFest. It is embedded in the content and actions involved-both off stage and on. Take, for example, Christopher K. Morgan's "Pohaku". It fuses modern dance with kahiko (a traditional form of hula) and English with the indigenous Hawaiian language."
Catey Sullivan, Chicago Sun-Times, 8.12.18
Critical Dance Review of Women and Choreography (Tiffanie Carson & Adrianne Fang)
“Carson’s choreography maintains the visual interest. Bodies undulate as light travels over them, and the limbs of the dancers stretch and extend seemingly into infinity...Another female choreographer who merits attention is Adriane Fang. Her duet, conflict/Resolve, is as intriguing and impactful as B.U.G. [Backlight. Uplight. Glare.]. Go female choreographers!”
Carmel Morgan, Critical Dance, 3.27.18
Critical Dance Review of Unpredictable, Repeat Hesitation
"Morgan manages to entice the audience with his playful and charming cleverness and then, ever so slyly, he strikes hard with something much more profound."
Carmel Morgan, Critical Dance, 3.27.18
Washington Post Review of By The Inch
"The directness of Christopher K. Morgan’s work hooks you from the first move. The transcendence of it keeps you hooked, even after the last moves are over."
Sarah Kaufman The Washington Post 5.31.14
Critical Dance Review of By The Inch
“In the Cold Room,” struck me as near perfection... Everything came together to make a remarkable whole."
Carmel Morgan, Critical Dance 5.30.14
@ISITMODERN Review of By The Inch
"What could easily have lapsed into mere shock-value choreography and staging is understated just enough to give the storytelling a universal quality."
Luella Christopher, @ISITMODERN 5.30.14
“I think art has a unique ability to pose questions and get people to think without being divisive.
We are just asking the questions."
Morgan quoted in an interview with Shelby Robinson, Northern Virginia Magazine 3.11.14
De-Generate in the Modern Moves Festival Review
"The emotional undercurrent supplied by the more mature dancers in Morgan’s company...
won me over."
Carmel Morgan, Critical Dance 1.4.14
Future Preludes Washington Post Preview
Mixing Genres with Peter Dimuro's Public Displays of Motion.
Lisa Traiger, The Washington Post 6.20.13
Dance Place Concert Washington Post Review
"Morgan incorporates the architecture of formal dance, which establishes both rigor and line, but without empty posing. He also displays a keen intellectual curiosity."
Susan K. Galbraith, The Washington Post 5.20.13
"The strongest piece in the selection, Brutal Beauty, choreographed by Christopher K. Morgan...
was wonderfully engaging and visually strong. "
Breena Seigel, DC Metro Theater Arts 2.15.13
"A vast range of conceptual beauty...that inspires conversation long after you leave the room."
Breena Seigel, DC Metro Theater Arts 10.30.12
C'est le ton qui fait la chanson Washington Post Review
"A highlight" of the 2012 Velocity DC Dance Festival.
Sarah Kaufman, The Washington Post 10.19.12
Limited Visibility Ballet Dance.com Review
"Christopher K. Morgan is a gift to DC, and his gift extends beyond just his choreographic abilities."
Carmel Morgan, Ballet-Dance.com 4.21.12
"Morgan offers not only choreographic skill, but a compelling personality and a keen creative style that local audiences adore."
Carmel Morgan, Ballet-Dance.com 11.18.11
"Morgan displays choreographic intellect... resulting in full-bodied artistic works that interplay narrative, movement ideas and a not insignificant trace of humanity."
Lisa Traiger, Dance View Times 5.23.10
"The kind of crooked choreography where the simple quiver of fingertips is enough to spark goose bumps."
Elizabeth Ward, Arts Post 4.12.10
“Charming and poignant."
Jennifer Dunning, The New York Times 2.4.08
“A forward thinking choreographer, who is willing and able to move beyond the traditional."
Heather Desaulniers, Ballet-Dance Magazine 12.5.09