Ilana Goldman

Choreographer - Dancer - Educator - Filmmaker

“This year’s offering of live music and original choreography, though, contains the most sublime piece yet. ‘Interchange’ is a deceptively simple work created by Ilana Goldman, who teaches at Florida State’s dance department. . . . It was provocative. It was confident. It was a thing of dark beauty.” 

– Mark Hinson, Tallahassee Democrat


“The most interesting ballet on this year’s program is the world premiere of ‘Gaining Ground’ by Ilana Goldman. Goldman, a former dancer with Trey McIntyre Project and Alonzo King’s LINES Ballet, is a relative newcomer to dance making and if ‘Gaining Ground’ is any indication, she has a promising choreographic career ahead of her.”                                    

- Alice Kaderlan, Seattle Times


“Ruth St. Denis’ ‘The Incense’ (1906) was the earliest, and dancer Ilana Goldman made something sinuous and grand out of it, endowing its faux-exoticism with genuine mystery. Goldman showed equal flair in Ethel Winter’s ‘En Dolor’ (1944), a flamenco-flavored piece that was sensual, severe and, in Goldman’s hands, exquisitely controlled.”                

– Michael Upchurch, Seattle Times


“When on stage and especially on pointe, new company dancer Ilana Goldman may best be described in animal terms: she moves with the grace of a gazelle, the fluidity of a cheetah and carries the stature of a giraffe. Dressed in watery white, hair pulled tight behind her head, Goldman looked like a mythical amalgamation of the three.”                      

– Amy Atkins, Boise Weekly


“Goldman, the only dancer on pointe, excels at Cunningham’s lively choreography.” 

– Jocelyn Anderson, Pointe Magazine


“Goldman dives into her odd-duck role and she’s a knockout, somehow both gorgeous and gawky.”

– Janine Parker, Boston Globe


“Goldman made her Boise debut with TMP in October as the “Girl from Ipanema” in McIntyre’s Antonio Carlos Jobim ‘Samba.’ Long limbed and elegant, she owned the piece.  In ‘Wild Sweet Love’ you’ll see a different side of her. Quirky, poignant, funny and on the edge, she dances the demanding central character, a woman who is looking for love in all the places she can.”

– Dana Oland, Idaho Statesman


“The magnificent Ilana Goldman is the odd woman out. Goldman is nearly six feet tall and impossibly quick and controlled with her impossibly long limbs. She appeared to tear herself apart as Flack sang the title song. McIntyre sent her arms and legs and knees and hips and shoulders into a violent contrary motion that was at once thrilling and heartbreaking. Goldman did not have to act her character’s loneliness; McIntyre built it into her magnificent dancing body.”

- Tom Strini, Urban Milwaukee            


“’Opus Romanza’ is only the second dance created for a ballet company by Sidra Bell. It emphasized the strength of the company’s female dancers and placed the commanding figure of Goldman, partnered by Williams, out front.” 

– Jim Carnes, Sacramento Bee


 “And finally, the Fairy Godmother, Goldman, was so declaratively stunning when she arrived in her green gown that it's a shame there wasn't a spotlight on her.” 

– Janice Berman, San Francisco Chronicle


“But the cast -- Ilana Goldman, Shila Tirabassi, Elizabeth Disharoon and Amber Merkens -- clearly communicated the solos' subtle differences and suggested a limpid atmosphere of dusk.”                                                

- Jennifer Dunning, New York Times