"...powerfully expressive..." - Politiken, Denmark 2016
"...organizing and mediating rather than dictating, coaching rather that controlling, Boye-Christensen appears intent [...] on an effort to redefine dance in Salt Lake City and the larger artistic world." Read article
– Slug Magazine
"CBC's choreography is amazingly complex, and the gestural vocabulary she has developed in combination with her explosive movement style tells a unique story within each piece."
– Salt Lake Tribune
"Boye-Christensen shows in her works an infectious vitality and a rare gift for inventive moves."
– The Cincinnati Enquirer
"Charlotte Boye-Christensen continues to keep modern dance in Utah genuinely avant-garde. But for all that innovation is now to be expected at the Rose Wagner Performing Art Center, the precise form such innovation will take, thanks to the work of a truly critical choreographer, remains ever unpredictable."
– Slug Magazine 2011
"An abstract and contemporary piece of choreography that dares to be outgoing and present"
– BT, Denmark
"Boye-Christensen's Row was darkly intense without ever becoming self-indulgent. This is a piece that should be kept by Ballet West to challenge the dancers stylistically and challenge audiences' ideas about neoclassical repertory. The men were sexy and dynamic, and the women strong and feminine — a wildly unique contrast of qualities."
– Salt Lake Tribune 2010
Conversations, Danish choreographer Charlotte Boye-Christensen's whimsical piece, evoked playfulness... the lean, delicate dancers, perfectly in sync... making nearly impossible dance moves performed on toe look completely effortless."
– Milwaukee.com 2002
In Ms. Boye-Christensen’s “Walls,” 10 dancers perform in rigorous unison... moving with hypnotic fervor, falling in and out of one line only to form another.
New York Times
"It's not the first time that Boye-Christensen has been honored by CW readers. In fact, it's not the second, either. The thing is, year in and year out, the Denmark native and artistic director of Ririe-Woodbury Dance Company creates and stages groundbreaking, entertaining choreography. Touching Fire—which was a collaboration featuring the words of author David Kranes and the stage design of architect Nathan Webster—played with the ideas of fear, reflection and illumination in a way that brilliantly pushed the limits of the modern-dance form."
– City Weekly 2011
"Charlotte Boye-Christensen has a choreographic Knack that transcends medium...Rhythmic finesse, whimsy and a gift for conciseness make Christensen's images delightfully unique...wherever they are seen."
- Dance magazine
"...appreciate the conviction and courage motivating NOW ID’s effort to use 19th century history as an unlikely vehicle for transporting local dance and its audience, finally, into the 21st Century ...There is little doubt that future productions will continue to reflect the company’s ongoing effort to remove dance performance from its position of splendid aesthetic isolation and integrate it more fully within the broader arts community and regional context which situate and sustain it."
- Slug Magazine, Salt Lake City 2015
"BEST CHOREOGRAPHY Charlotte Boye-Christensen: But Seriously. Just in case you haven't been paying close attention, Boye-Christensen has become the annual favorite for winning this particular award. Ever since the Denmark native arrived here to take over as artistic director for the Ririe-Woodbury Dance Company, she has been creating celebrated, groundbreaking work for Utah audiences. In typical collaborative style, But Seriously saw her pair up with actor and comedian Ethan Philips, author David Kranes and architect Nathan Webster. As a bit of a mixed blessing, Boye-Christensen is stepping down from her post at RWDC, which hopefully means she will have much more time to develop her breathtaking choreography."
– City Weekly 2012
With Feast, Now-ID—an interdisciplinary dance company with an international scope—really started to hit its stride presenting groundbreaking and thought-provoking site-specific work. Company founders Charlotte Boye-Christensen and Nathan Webster's second evening-length production took over the historic Great Saltair for a thematically diverse, one-night-only dance/theater event about appetites, tastes and desires that explored the act of consumption and how it affects the physical dimensions of the human body. Boye-Christensen's willingness to push her own movement vocabulary into new spaces and complex energies is what ultimately set the table for such a unique Feast.
– City Weekly Arty's Award BEST CHOREOGRAPHY, Charlotte Boye-Christensen, for FEAST
Three reveals, with great candor and daring, the intense and ongoing effort of self-evaluation and self-editing, which is as much a part of the total artistic process as any other component—though it receives far less recognition. In this regard, Boye-Christensen continues her overall project of reorienting and reversing the fundamental oppositions (such as art/life, performer/audience, originality/repetition, etc.), which structure contemporary dance, revealing them for the malleable conventions they are."
– Slug Magazine 2012