Dancing On My Own

Holstebro Dansekompagni

 

“Moreover, I must highlight the interplay between Birch and Frimann’s scenography and Tøttrup’s choreography. Everything on stage is actively used within the choreography. I mean, I don’t think I’ll ever look at a bathtub the same way again. Gradually, individuality and triviality diminish. This happens especially thanks to Tøttrup’s choreography. Suddenly, the dancers see one another, moving like a single organism that, with caring bodies, catches and supports each other through the movements. It was very moving to experience. Wow, it’s hot. In this way, the performance also comes to represent the many different forms that love can take—something I experienced as an underlying theme throughout the entire piece.”
— UngTeaterBlod
https://www.ungtteaterblod.dk/

 

“There are many essential themes at play in Holstebro Dance Company’s well-crafted Dancing on My Own, which is currently touring the country. Mikkel Alexander Tøttrup’s choreography is especially in the first act characterized by a blend of abrupt shifts and fluid movements. There is on the one hand a distinct shift in mood from the first to the second act, but on the other hand a logical development of the emotions conveyed by the dancers on stage.”
— Iscene
https://www.iscene.dk/

 

“The contrast between earth and sky. This forms the soundscape of the performance Dancing on My Own, which is currently showing at Aarhus Theatre. The choreography of the piece is created from this same contrast. Heavy earth and a soaring skylark. The dance performance Dancing on My Own is a five-star experience. Særligt nød jeg de sidste 20 minutter af stykket, hvor danserne, i mine øjne, lavede en hyldest til den altruistiske kærlighed. Dansegulvet der blev til et bølgende hav. Hver performer falder ud og ind i kys, og jeg fik fornemmelsen af at dansernes kroppe netop blev til hjertebeat i kærlighedens hav. For den oplevelse sender jeg tak til teamet bag.”
— Kulturnyt

https://kulturnyt.net/

Grey Zone

'TeaterFÅR302

 

“Mikkel Alexander, who himself dances in the performance, has drawn on his personal experiences with an Alzheimer’s-affected person to create the choreography for Grey Zone. The result is a very beautiful and relevant, but also a bleak performance.”
— CPH Culture
https://www.cphculture.dk/

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“The technically mastered bodies radiate vitality and lightness. They offer us bright, composed moments that reveal their control. The interplay is marked by exploratory curiosity. They create a place to belong – a place to occupy – and their relationship feels like a game that affirms existence.”
— Teateravisen
https://www.teateravisen.dk/

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“The technically mastered bodies radiate vitality and lightness. They offer us bright, composed moments that reveal their control. The interplay is marked by exploratory curiosity. They create a place to belong – a place to occupy – and their relationship feels like a game that affirms existence.”
— Peripeti
https://www.peripeti.dk/​

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Oblivious Days

National Musical Theatre Sofia

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“Oblivious Days challenges societal norms and prompts introspection through a multilayered experience exploring themes of disharmony, resilience, and the quest for humanity. This performance blends intense physicality, multimedia projections, and symbolic costumes… transported to a captivating world that challenges perception in the middle of an apocalypse.”
— Margarita Arnaudova Foundation Jury Statement
https://arabesque.bg/

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Elverhøj

Aarhus Theatre

 

“A fully realized highlight is also Mikkel Alexander Tøttrup (from Holstebro Dansekompagni) as the ballet-dancing, speechless Elf King. How captivating, how eerie.”
— Asker Hedegaard Boye, Weekendavisen

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“If I had to highlight only one reason to see Elverhøj, it would be Mikkel Alexander Tøttrup – dancer and choreographer – in the role of the Elf King. Dressed in white, he enchants us with a physical presence carried entirely by dance. Without words, he manages to create a powerful character who dominates the stage and slowly builds an underlying tension. Oliver and I were both captivated by his movements, which were at once beautiful and unsettling.”
— Michael Frederiksen, Børnenes Aarhus

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“A special performance is also delivered by dancer Mikkel Alexander Tøttrup in the role of the Elf King. His animalistic and almost supernatural movements evoke an eerie intensity, and as an audience member, you tremble in your seat fearing he might come too close.”
— Jo Damsgaard-Sørensen, Ungt Teaterblod

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“On stage we see the Elf King himself, choreographed and danced superbly by Mikkel Alexander Tøttrup, who throughout the performance moves across the layers of reality in the play, with references to both Bournonville and Tolkien, and with a seriousness, control, and eeriness in his command of space that the ironic playfulness of the festivity cannot penetrate. At first, one might think that the dancing Elf King is merely a decorative ornament around the dramatic plot, but it quickly becomes clear that the Elf King is the maelstrom around which the entire story revolves.”
— Thomas Rosendal Nielsen, Peripeti

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“Last but not least, one must bow down to dancer Mikkel Alexander Tøttrup from Holstebro Dansekompagni, who in his performance as the white-clad and white-painted Elf King merges Gollum from The Lord of the Rings with the most graceful Bournonville dancer. He is delicately poetic, sensually captivating, and terrifyingly eerie. His talent shines through.”
— Sceneblog

 

“Dancer Mikkel Alexander Tøttrup plays the silent Elf King, and his presence is, almost literally, breathtaking. In my opinion, elements of dance and music can often seem somewhat tacked-on in ‘pure’ theatre plays, but here they feel exceptionally well-placed.”
— Iscene.dk