In the media

Please find below a selection of reviews about the artist's performance in leading newspapers and magazines.

'St.Louis Woman': Blues, but Little Soul
The Washington Post | June 12, 2004
(...) At Della Green, the woman who starts the ruckus, Caroline Rocher vamped with purpose. She was in slithering hips and cat-eyes, endless legs and other wardrobe-enhanced assets. (...)

Misguided Passion in Ashton's "Thais"
The New York Times | July 11, 2003
Dance Theater of Harlem's second program as part of Lincoln Center Festival 2003 was a slam-bang crash course in great ballet choreographers of the 20th century. (...) Donald Williams and Caroline Rocher were fabulous in the ballet duet(...)

A Work of Seduction | "St.Louis Woman" beguiles in premiere
Newsday | July 11, 2003
(...) The Work had it's world premiere Tuesday night at the New York State Theater with the slinky, incandescent Caroline Rocher as Della. She could send a man round the bend with her pantherine walk alone - and then she dances a tango. No wonder she upends the suave Donald Williams (...)

Harlem debut not 'Woman' of distinction
New York Post | July 11, 2003
(...) The whole thing - including the score arranged by Joseph E. Fields - was a muddle, but a muddle all the same.
That said, the sensuous Caroline Rocher was fine as Della Green, and Donald Williams did well as the big, bad gangster who owned the joint, as did Tai Jimenez as the vengeful woman he done wrong, while Ikolo Griffin proved very appealing as the virtuoso jockey, Little Augie.

Passions, Wrongs and Reconciliation in a Racetrack Saloon
The New York Times | July 10, 2003
(...) The dancers are neither last not least, contributing dynamic performances. Caroline Rocher, Ikolo Griffin, Donald Willams and Tai Jimenez are splendid in the first two casts. (...)

Anything But the Blues for "St.Louis"
www.nyblade.com
RUN UPTOWN FOR TICKETS TO DANCE
Dance Theater of Harlem's "St.Louis Woman" which opened Lincoln Center Festival 2003. (...)
Caroline Rocher, DTH's house diva, is simply, the most ravishing woman in town, like Josephine Baker as reconceived by Degas.

At Wolf Trap, Harlem's Solid Summer Reprise
The Washington Post | August, 8, 2002
Soloist Caroline Rocher was at times pantherlike, at times pure line and shape, in "South African Suite" which was inspired by DTH's 1992 tour to South Africa and was choreographed by South African Augustus van Heerden and Laveen Naidu with DTH artistic director Arthur Mitchell.

Stepping ahead
Sun Sentinel South Florida | April, 24, 2001
(...) Caroline Rocher offered eye-catching poses in the opening and closing the Enduring Spirit and Hope. (...)

The Boundless Dance Thr. of Harlem
Backstage [www.backstage.com]
(...)A second viewing of "Creole Giselle (Act Two)" saw Caroline Rocher in the title role. She certainly compared favorably with Kellye A. Saunders, who had performed the ballet on opening night. Everything called for was apparent in her interpretation -dramatic intensity, tenderness, and that wraith-like, floating quality so essential to the role. All in all, a truly deliquescent performance. (...)

A Happy Family Reunion in Balanchine's Progeny
The New York Times | May, 27, 2000
(...) "Slaughter on Tenth Avenue" is a ballet within a Broadway show, and Mrs. Rocher took her new role as the dancer portraying a burlesque performer with a laid-back wink. Having danced the Siren in Balanchine's "Prodigal Son," she knows how to seduce. Ladylike in her first duet with Mr. Woetzel, she had all the right leggy stuff in the other torrid duet, and Mr. Woetzel was nicely over the top, exuberant and funny. (...)

Eye-Popping Movement, A Piston-Driven Score
The New York Times | Sept. 30, 1999
Caroline Rocher and Kip Sturm's "Bend Buckle Screw" was one long duet of an embrace, while in "Writhe" Andrea Long, arms folded behind her back, gave as good as she got from Duncan Cooper.

Harmony moves Harlem troupe
New York Post | Sept. 25, 1999
"The Prodigal Son" is one of the many Balanchine ballets the Harlem company keeps in its repertory, and here staged by a New York City Ballet repetiteur, Richard Tanner, it was lightly more abrasive and considerably more acted-out than it was by Balanchine's own company.
But the performances - by Duncan Cooper as the Prodigal and Caroline Rocher as the Siren- were both excellent.

A Plotted Homage to a Noted Nonplotter
The New York Times | Sept. 25, 1999
The revelation was the new Siren, Caroline Rocher. Assured in her technique and liquid in her phrasing, she gave us a brazen seductress, very different from the cool and aloof femme fatale that "Prodigal Son" often features. The important thing to realize is that Balanchine's ballets are open to interpretation.
(...)Precise and powerful in the enraged leaps and turns of his first solo, he is an eager prey for Ms. Rocher; deliberately self-aware, assertive in her energy and clear in her victim's body and seems to enjoy it.(...)

Harlem troupe on its toes at 30
Daily News | Sept. 23, 1999
The Dance Theater of Harlem is celebrating its 30th anniversary with a two-week run at City Center, the company's first downtown season in several years. Accordingly Tuesday's opening-night program was festive: a brand-new dance, a New York premiere and a much-loved standby of DTH's large repertory.
(...)"South African Suite", the New York premiere, was more successful. Although the choreography by August Van Heerden, Laveen Naidu and Arthur Mitchell was paper-thin, the packaging was first-class. Caroline Rocher and Camille Parson led the company with panache;(...)

Street Smarts and Visions of South Africa as Muse
The New York Times | Sept. 23, 1999
Dance Theatre of Harlem's 30th birthday is a happy cause for celebration, and the company's gala opening of a two-week anniversary season at City Center on Tuesday night naturally had a festive atmosphere.
(...) Like some South African jazz, the music has a gentle melodic sound, and in this respect the choreography has the right tone. It is elegant and refined in its abstract images.
The lighting by Kevin Conaughton and Brady Jarvis reveals a two-tier set. The musicians perform on the top platform, and Caroline Rocher, in silhouette, is on the bench below. She is the "enduring spirit," as the program calls her: she rocks an invisble baby in her arms, struts on toe and walks on all fours, her limbs stretched. She is vibrant and has a voluptuous jete.