This intriguing work is very European … Johnson’s cerebral choreography contains the wisdom of the ages, and is fey, even precious in its presentation. There is a delicacy and whimsy to her work that is just not part of a North American aesthetic.
Paula Citron, 30th October '04, The Globe and Mail, Canada.

Johnson is an absolutely riveting performer. She could almost be seen as an amalgan of two styles' greatest exponents - Kazuo Ohno crossed with Mary Wigman. Stigma is the pinnacle of seasoned artistry.
Michael Crabb, 29th October '04, National Post, Canada.

Not since Ingmar Bergman filled the screen with haunting images of gloom and doom has such a character visited us …
William Littler, 28th October '04, Toronto Star, Canada.

Disturbing transformations powered by inner states ... elegantly, phantasmagorically minimal.
Deborah Jowitt, 13th August ’03, The Village Voice, USA.

The body is a microscope or telescope through which we observe the minute and the vast pulse of life simultaneously ... Johnson’s exposed back and flanged shoulder blades, her ribs and breasts become gaping mouths, planes and hollows, shifting optical illusions under the influence of which we loose our grip on reality ... a wonderful manipulation of audience perception that also carries a profound social message. What is a stigma? ... Johnson’s tight, controlled work remains etched in our minds, covering less ground and more constricted meaning, but full and complete. It suggests that the power of the solo is the ability to stand both inside and outside a work of imagination, as both shaman and artist, medium and message, if you will, controlled and controlling.
Allison Tracey, 19th July ’03, The Berkshire Eagle, USA.

... as a tribute to the downtrodden ... a female counterpart of the lackless fellow who became a cockroach in Kafka’s story ... unusual, vividly expressive solo ... The continuing vitality of the soloform was affirmed.
Jack Anderson, 18th July ’03, New York Times, USA.

... dance in a class of its own ... She needed no stage hardware to transform the space into one breathing presence, gathered up into one tremendous concentration on the marginal, yet immortal, being which was created before our very eyes. It in turn became creatures, beyond control of the possible, ... fetched from the cells’ blacked out memory.
Janus Kodal, 21st February ’03, Politiken, Denmark.

A Sorceress in the greatcoat of a desert insect…undergoing various curious and alarming deformations she exposes the body from the angle of a peculiar and cold animality. An extraordinary composition…scalding and rigorous. Don’t miss it.
L.V.D.W. August ’01, L’Express, Belgium.

A rich inner world of images ... the body looks hollow and spiritual … the touch of her extremities on the floor is hypnotizing … Her movement quality creates a halo of magic.
Ruth Eshel, June ’01, Ha’aretz, Israel.

A masterpiece on stage. Huge bravura, a lot of atmosphere, deep emotion. The plasticity of the body, the perfection of the gestures and the absolute harmony between sound and movement fused into the most excellent artistic expression.
14th March´01, La Paginaquattro, Italy.

Alarming, inciting, etching the retina, your mind is stigmatized when you leave…with complete commitment and distinct charisma Kitt Johnson reaches the universal. The stigmatized human being. Absurd…grotesque…shocking…A modern lithography by Palle Nielsen and at the same time a classical mix of Hieronymus Bosch and Pieter Breugel.
PRESS RELEASE from the Danish Arts Foundation on the occasion of the award given to Stigma, 6th December 1999.

The hit of the evening…a gothic magic picture transforming a deathly pale pietist and suffering Madonna to an insect in the desert, a fallen black angel and a screeching witch riding across the stage. Brilliant!
Majbritt Hjelmsboe, 19th November ’99, Weekendavisen, Denmark.

A victory for Kitt Johnson who enters the endless column of pouring dust grains in no-man’s-land… the most bizarre endurance…a clarity of form and a dramaturgic balance of tension which marks the result of years of work - nonchalant and unostentatiously served like rare delicacies on a sushi plate…impelled by the fiery music of Sture Ericson and Jacob Kirkegaard.
Anne Middelboe Christensen, 16th November ’99, Information, Denmark.

Via deformations of the body, including the creation of absurd body dimensions and perspectives through an imaginative utilization of costume and light, one experiences an incredible intensity in Kitt Johnson’s slow and minimalistic body language…nicely accompanied by fine sound images.
Vibeke Wern, 14th November’ 99, Berlingske Tidende, Denmark.

A sinister creature in whom the stigmatization has worked marking all joints of a crumpled, gnarled, hunchbacked body…a composition of extreme control…more efficient than most solowork.
Alexander Meinertz, 14th November ’99, Politiken, Denmark.