“Johnson is a craftsman and a poet; her works, which stress the ensemble and attend closely to the music, have an ebb and flow in addition to a strong emotional current. The basis of her technique is ballet, and her dancers are strong. The program at New York Live Arts includes four works, two of them new, set to a variety of musical styles, from Handel to Golijov” The New Yorker, 2017   


“Lydia Johnson's work, rooted as it is classical ballet technique, is alive with dramatic nuances that paradoxically seem both contemporary and curiously evocative of ancient modes of dance. 

Among current choreographers, Lydia's work bristles and blooms with a poignant sense of humanity. There's nary a trace of theatricality in her dances; rather, she uses the music as a canvas on which emotions - both the deep and the subtle - are painted. Expressions of tenderness (so lacking in our lives today), hope, remorse, uncertainty, and the frailty of the human heart well up on the music, sometimes unexpectedly.”  Philip Gardner, Oberon’s Grove 2017


"I was so impressed with the evening that I stopped taking notes, allowing me to focus exclusively on the dance. Its subtlety, its musicality, its ability to tell a story through dance without conjuring one up (that's left up to you), puts her choreography near the top of what I have seen recently. It was so rare to be taken with images, music; by the end, I walked out into the warm air and just thought about what I had seen. And I kept walking for a long time.”     Barnett Serchuk, Broadway World, 2018                                                                                                                                                                       

"What seems to count most for Ms. Johnson is music.  The four pieces...all showed uncommon skill at matching ballet movement to music, both at the large scale of structure and in small, felicitous details.  Her orchestration of bodies, adding and subtracting, followed the texture of the music wonderfully, coordinating closely with each score's formal drama"   Brian Seibert, The New York Times, 2015


“Lydia Johnson's choreography continues to impress as a unique fusion of ballet and contemporary dance; her intense focus on musicality has set her creations in high profile among the vast number of dance works being made here in Gotham year after year.” Philip Gardner, Oberon’s Grove, 2015


“In dance that challenges the mind as well as the heart, Lydia Johnson often isolates and reworks components of classical ballet technique to create a sense of life flowing unhurriedly over mysterious human stories.”  Jennifer Dunning,The New York Times, 2005


“This ballet-based, contemporary-inflected company is musically incisive and nuanced. What counts, apparently, besides effortless musicality, is making a connection…Like all her dances, one view is not really enough to absorb the subtle musical nuances and underlying dramatic grace notes."

                                                                                            Mary Cargill, Dance View Times, 2015


‘The stream of dance rises and falls subtly with the music, in part because of the ways Ms. Johnson moves her dancers about the stage and places them, often meditatively, on or beside the chairs. Fleeting duets and solo passages are embedded in the flow, and the shifts from unison to individual choreography add to the texture. There is no discernible narrative, but you sense the unfolding of some fundamental human story"                                                                                   Jennifer Dunning, The New York Times, 2004