The Press

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photo from “Charisma”

“The triple achievement of Hope Wechkin’s 2008 “Charisma” was…unprecedented…What (Wechkin) is doing can serve as an example for all kinds of other musicians, I believe, who similarly should not necessarily think in terms of pigeonholing themselves.”   –   
Gavin Borchert, Seattle Weekly

“In what might seem like an odd coupling to some, Wechkin is also a physician in palliative medicine. However, her interest in the mind-body connection is precisely what makes her music special. She plays and sings with an apparent skill in both areas without ever pushing the body to produce beyond its natural inclinations.”   –  Megan Ihnen, The Sybaritic Singer
(review of Hope Wechkin’s album Leaning Toward the Fiddler)

“It’s hard to label Hope Wechkin either as a fiddler who sings, or as a vocalist who can accompany herself on violin, as on this evidence, neither skill deserves secondary billing. In both playing and singing, this set…reflects an understated but distinctive style.”   – James Crel, The Strad



photo from “Salt Horse”- D. Reuter

“Beth Graczyk of Salt Horse is a helluva dancer. She’s got the moves
but also the acting to suck you right into whatever she’s doing”.
 – Brendan Kiley, The Stranger

“I’m given the story of knowledge shared and spreading out before us, and also the satisfaction
of watching a deft and mindful choreographer. Efficient and exact in her movement she
blends hard and soft, angled and round to the betterment of both
.” – Eric Pitsenbarger, Stance

“…in Seattle, the legacy of great achievers in movement poetry (33 Fainting Spells, Pat Graney,
Robert Davidson) continues in strong health this month with the full-evening premiere of
“Man on the Beach” by Salt Horse. Trust me on this: you’ll never forget the mysterious, swollen
moments of human struggle and satisfaction created by choreographers
Beth Graczyk and Corrie Befort …
   –  Jean Lenihan, Breathlesspace,
Writings on Dance and Other Movements




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