"Whether abstract or in a storytelling mode, her works reveal an underlying sense of musical structure, dance technique, unbridled energy. vivid emotions and joyous theatricality." (Dance Magazine)

"Taylor-Corbett is masterful . . . accomplished at balancing complexity and order. She knows how to enliven space with abstract emotional tensions. (The Village Voice)

LOST AND FOUND: "Lynne Taylor-Corbett's 'Lost and Found' is a remarkably poetic dance about — you guessed it — 9/11. She has taken some of the postures and gestures of grief and woven them into an abstract ballet that scrupulously shuns melodrama and portentousness and is all the more poignant for it." (Wall Street Journal)

GREAT GALLOPING GOTTSCHALK: "Every company needs a crowd-pleaser from time to time and the American Ballet Theater's 'Great Galloping Gottschalk', performed Thursday night at the Metropolitan Opera, is certainly that. Ms. Taylor-Corbett shows a fluency and secure command of formal concerns, but she is, essentially, out to create light piece. (Anna Kisselgoff — NY Times)

"The ability to string steps together in some kind of workable semblance of a ballet is unexpectedly rare. But the gift of providing those steps with the unmistakable stamps of individuality — the necromancy that changes ballet-making into choreography — is the more understandably rarer. And Lynne Taylor-Corbett has it. In 'Great Galloping Gottschalk' she flaunts it." (Clive Barnes — New York Post)

PRAYERS FROM THE EDGE: "This work unfolds with stunning cinematic smoothness. 'Prayers from the Edge' may not break choreographic ground but it succeeds as dance theater". (The New York Sun)

ESCAPE: "The Atlanta Ballet has opened its season with a triumph with Lynne Taylor-Corbett's 'Escape', a deliberately ambiguous and astonishingly complex work that entertains while it strikes disturbing chords. Ms. Taylor-Corbett is an inventive, imaginative and intelligent choreographer who bends and twists the ballet vocabulary to create movement patterns distinctly her own. What's more, she has something to say, though she speaks in the abstract." (The Atlanta Journal)

FINAL DRAFT: "Many contemporary choreographers try, but few succeed in creating characters with real depth, with problems and relationships that an audience will care about. With 'Final Draft', premiered by Pennsylvania Ballet, Lynne Taylor-Corbett has shown that she is more than up to the task. This is a poignant one-act ballet, full of the kind of images that are fleeting, but leave a lasting impression." (The Times)

APPEARANCES: "Appearances, a jazz-rock dance was by all odds the crowd pleaser. It opens formally and sedately, but that's only an appearance, a surface thing . . . 'Appearances' is very much a dance of the '80s: ambiguous, androgynous and super-animated. It's also very entertaining." (Atlanta Journal)

TUNES: "The undoubted hit was Lynne Taylor-Corbett's 'Tunes', a marvelously witty romp that brought forth gales of laughter during its premiere and, at its end, something of an ovation for Ms. Taylor-Corbett, composer Strouse and the entire company." (Louisville Courier-Journal)

FOOTLOOSE: "Lynne Taylor-Corbett's choreography matches director Herb Ross' and writer Dean Pitchford's intentions perfectly, with exuberant movement that is almost always awkward — in other words, movement that is not so far removed from the audience as to be impossible, thus including all of us where the classic musicals excluded us with their perfection." (L.A. Weekly)

ORDINARY RHYTHMS: "This ballet suggests that she is not afraid to take a chance every now and then. It is free of the sentimentality of her most familiar works 'Diary' and 'Great Galloping Gottschalk'. It hasn't any overt plot or suggestion of characters. Instead, movement meets strange, bleak music on its own terms and comes up with thought-provoking dance." (Jennifer Dunning — New York Times)

SURFACING: "Cheers from a predominantly older audience for Lynne Taylor-Corbett's 'Surfacing', a reaction in ballet to the AIDS crisis, show how far Miami City Ballet has stretched the dance audience in two years. The ballet begins with isolation, but the progression of the movement is towards unison, toward the bonding that comes with shared experience of coping with the inevitable. It is an affecting tribute to those who have suffered." (Miami Herald)

GO! SAID MAX: "Lynne Taylor-Corbett's 'Go! Said Max' means another sharp burst of excitement for the Hubbard Street Dance Company. In its virtuosity, in its celebration of beautiful bodies and in its inventive combination of ballet and modern dance, this is a perfect work for Hubbard Street." (Chicago Tribune)

ESTUARY: "While every night of American Ballet Theater's tour has a special cachet, last night offered an extra reason to cheer. Lynne Taylor-Corbett's new ballet 'Estuary' was given its premiere and met with great enthusiasm. The work succeeds brilliantly, not only for its freshness of choreography, but also because the dancers are buoyed up by the surging, intense music of Vaughan Williams." (The Miami News)