"An unexpected highlight was Jessica Lang's choreography, woven through the work"
- Anne Midgette, The Washington Post, September 11, 2017
"Jessica Lang’s choreography, elegantly performed by members of her company, added much to the production, particularly in the way it turned the triumph march into something like the revolution-touting ballets of Mao’s China—a compelling image of determined exhortation that didn’t need even a single hoof of wildlife."
—Tim Smith, Opera News, September 9, 2017
"Still the opera would not have attained its robustness without the dynamic dancing of Jessica Lang’s company that was integrated so beautifully into the show. Smartly the choreographer drew on sources other than clichéd Egyptian-like posturing in profile."
- Susan Galbraith, DC Theatre Scene, September 11, 2017
"Despite the famous grandiosity of the opera, this show never feels static, largely because of Jessica Lang’s imaginative choreography."
- Melinda Bargreen, The Seattle Times, May 7, 2018
"Above all, though, it’s the potent choreography by Jessica Lang that shocks us...The usually irrelevant dance sequences of French grand opera are, finally, put to good thematic use."
-Lisa Hirsch, San Fransisco Classical Voice, November 8, 2016
"...showing the audience something revelatory comes in the famous Triumphal March of Act 2, in which the Egyptian army returns victorious from an engagement with the Ethiopian forces. Here, choreographer Jessica Lang’s taut, confrontational ballet sequence underscores the implications of that victory by depicting — in stylized but unmistakable form — the rapes that accompany military conquest. There’s a telling invention, too, in the cadre of young boys that entertain Amneris in her chambers with a display of martial arts, and reprise it during the Triumphal March. You can see with uncommon clarity a society bringing up its young men as fighters."
- Joshua Kosman, The San Fransisco Chronicle, Novmber 6, 2016
