“Lean and powerful, it [José Limón’s The Moor’s Pavane] stands the test of time. The current dancers (The Moor: Mark Willis; His Friend: Jesse Obremski; His Friend’s Wife: Jacqueline Bulnes; The Moor’s Wife: Savannah Spratt) perform it beautifully, with strength and dramatic clarity.”
“The current [Limón Dance] company is made up of excellent dancers, although it might be suggested that the women outshine the men when it comes to stage presence, generally speaking (with exceptions, of course, like Jesse Obremski).”
- Sheila Kogan, TheaterScene
“As ‘His Friend’ [Iago], Jesse Obremski [in José Limón’s The Moor’s Pavane] was a calculating serpent…You can see the green-eyed monster [Iago] as it transforms from an implanted idea to the perdition that catches Othello’s soul and the chaos that overwhelms him.”
- Jerry Hochman, Critical Dance
“The story [of José Limón’s The Moor’s Pavane] was designed so expertly by Limón and is enacted with such nuance and intensity by this stellar quartet [Jacqueline Bulnés, Jesse Obremski, Savannah Spratt, Mark Willis], we are immediately drawn in… Through movement, both athletic and gestural, as well as well-placed stillness, we discover that [Jesse] Obremski is not a friend at all, rather a scheming, jealous snake with elegant clothes and superficial mannerisms [as his character Iago].”
- Christine Jowers, The Dance Enthusiast
“ This evening it [‘José Limón's best-known work, The Moor's Pavane’] was splendidly danced by Mark Willis (The Moor), Savannah Spratt (His Wife), Jesse Obremski (His Friend), and Jacqueline Bulnés (The Friend's Wife), their dancing alive with nuance and musicality.”
- Obreon, Obreon’s Grove
“Jesse Obremski’s ‘Courage’ [a creation commissioned by The University of Wyoming] is a rich piece up for interpretation by the audience… I can see the resilience of the human spirit when we’re being challenged when we’re being bullied and how we help each other and don’t help each other.”
- Shelbey Prusia, Branding Iron
“Choreographer Jesse Obremski [of The Church of Transfiguration’s production of Amahl and The Night Visitors] was extravagant in his movements for the dancers in a grand eye catching, foot stomping and real “hand clapping” (with the audience joining in) manner with impressive leaps and twirls."
- Nino Pantano, The Brooklyn Discovery
“Showcasing the fluid and sensitive movers of Gibney Dance Company, against dreamy soundscapes, two new works [in the program ‘HOME’] blurred time and space to investigate the histories and emotions attached to the physical places and objects of “home”. The dancers [in Adam Barruch’s Imprint Ghosts] track intricate, precise lines, as if retracing the outlines of lost structures. Their limbs swirl with an ethereal lightness and fluidity, coalescing in frozen images just long enough to imprint a memory. As the performers loop through rearrangements of the movement, the airy quality thickens.”
- Nadia Khayrallah, The Dance Enthusiast
“The period costuming was exquisite, and the four performers [Logan Frances Kruger, Brenna Monroe-Cook, Jesse Obremski, and Mark Willis in José Limón’s The Moor’s Pavane] were outstanding in their theatrical telling through dance of the timeless sins of racism, domestic violence, and jealousy.”
“The true athleticism of these talented performers could be seen in some role-reversals of traditional partnering [in Kate Weare’s Night Light]. Of note was Jesse Obremski’s aerial lifts of both female and male partners."
- Josephine Sarnelli, In The Spotlight
“ …the pensive, elongated (Mark) Willis eventually hands it off to the precise, bright-eyed Savannah Spratt and she hands it off to the magnanimous, sweeping Jesse Obremski [in José Limón’s Chaconne]. [In José Limón’s The Moor’s Pavane] …the four — [Mark] Willis as "The Moor" (Othello); Brenna Monroe-Cook as his "Wife" (Desdemona); [Jesse] Obremski as "His Friend" (Iago) and Logan Frances Kruger as his friend's "Wife" (Emilia) — are in tune. Each convey their characters' thoughts and emotions with theatrical clarity but without slipping into theatrical affectation.”
- Janine Parker, The Berkshire Eagle
“We are riveted by how every gesture so succinctly conveys the essence of the tale [in José Limón’s The Moor’s Pavane]. Attired in yellow, consumed by jealous rage, Iago (Jesse Obremski) manipulates and poisons Othello (Mark Willis)… As his tormentor Obremski’s Iago, is more slender, slithering, agile, clinging and manipulative.”
- Charles Giuliano, Berkshire Fine Arts
“Most avant garde of the evening was duet No Room For Wandering [choreographed by Yin Yue], featuring Tanner Myles and Jesse Oremski, both athletic but fluid in movement. These dancers were complimentary to each other and really shifted the mood of the evening in a powerful way.”
- Demetrius Shields, Dance Informa
"Another standout was Jesse Obremski: windblown in the air, then tumbling and delicately suspended in Tecumsah’s solo [in José Limón's The Unsung]. Stealthy or wild, attacking, grieving, and fleeing in distraction, these dancers [The men of The Limón Dance Company] brought Limón’s glorious manscape to life."
- Robert Johnson, The Dance Enthusiast
"The seven men are all strong performers [in José Limón's The Unsung]. I find it hard to tear my eyes from Jesse Obremski, one of the troupe’s youngest members, whose strength, clarity, and focus radiate from a secure central place."
- Elizabeth Zimmer, The Village Voice
"[Jesse Obremski's] solo in [José Limón's] The Unsung on Sunday [May 13th, 2018] was beautifully wrought - measured and dynamic... [His] artistic growth evident."
- Jaclynn Villamil, Teacher/Choreographer/Performance Consultant
"[Jesse Obremski's] litheness and masterful grace just stood out".
- Cal Skaggs, Lumiere Productions, Inc
"[Jesse Obremski's] dancing [in José Limón's The Unsung] was lyrical, dynamic, and engaging. [José] Limón would be proud."
- Barrett Hong, Audience Member in New York City
"What people may not grasp when watching the performance [of José Limón's The Moor's Pavane] , is that the dancers [Logan Frances Kruger, Brenna Monroe-Cook, Jesse Obremski, and Mark Willis] doubled as actors, by telling 'dance narratives.' These dancers focused on showing the characters’ relationship with each other."
- Ty'Shae Cousar, The Carolinian
"[Jesse Obremski's work] Their Voices was a poignant tribute to human suffering and all of life’s 'hurricanes'. I thought the musical accompaniment [of a new score by Robert Ouyang Rusli] was a perfect mirror of the growing vortex of human suffering. [Obremski asks] the audience to imagine their worst fears and then---signals a way out: Community. This piece is 'prophetic' in the best tradition of prophetic art, i.e., mirroring the realities of the human condition and pointing to solutions premised on human love."
- Dr. Philip B. Spivey, Audience Member in New York City, New York
"I would describe [Jesse Obremski's] style as ‘lyric precision’ --- in all of its elements... [His] body appears to be one unified instrument: Lyric, because [he takes] every opportunity to sing [his] phrases; precise, because every word of [his] song is superbly articulated and enunciated. It’s really quite wonderful to see."
- Dr. Philip B. Spivey, Audience Member in New York City, New York
"Jesse Obremski was the choreographer [of the Church of Transfiguration's production of Amahl and the Night Visitors] who made the audience aware of the high quality peasant dancing... The dancers, Ambar and Charles Rosario, Savannah Spratt and Mark Willis were graceful and lively, giving us many memorable moments and regaling us with their grace and stylish movements."
- Nino Pantano, Brooklyn Discovery
"Colin Connor [Artistic Director of The Limón Dance Company] prefaced the premiere [of No Room For Wandering] with a statement on the Chinese American choreographer's [Yin Yue's] love for effort. And their effort was evident. [Tanner Myles] Huseman and [Jesse] Obremski "fought for every inch," as they danced with enough vigor and focus to lead an army to grueling victory... With each emerge, they propelled themselves into the space and into each other. Their movements fit together seamlessly in a sweeping compliment."
- Kristen Hedberg, Tillt Magazine
"[About José Limón's Concerto Grosso] Danced beautifully by Kathryn Alter, Elise Drew Leon and Jesse Obremski, the first half was slow and deliberate with endless suspensions and balances, and then the second half quickened with leaps that covered the stage, showcasing Limón’s signature curves in the back, splayed and punctuated arms, wrist and fingers and the joy in movement."
- Charmaine Patricia Warren, New York Amsterdam News
"When I saw [Jesse Obremski dancing] Chaconne [choreographed in 1949 and performed by José Limón], I was reminded of how much I love dance and I thank Jesse for the wonderful gift of himself."
- Evaristo Bulnes, Audience Member in Miami, Florida
"He reminds me of Angel Corella [Former Principle Dancer with the American Ballet Theatre], there were moments when he was stunning because I could not see the preparation and of course that takes your breath away."
- Gail Taft, Audience Member in Miami, Florida
"This [José Limón's The Moor's Pavane] is what I came to see! Iago danced by Jesse Obremski is dancing as if his life depended on it, he is inspired. With every movement he projects the darkside of the force. Mr. Obremski has found the choreographic bread crumb trail and is following its to its redrum [Stephen King] conclusion. Kathryn Alter’s [Emilia]... duet with Mr. Obremski beautifully sets up the tender Romeo and Juliet inspired pas de deux between The Moor [Bradley Beakes] and Desdemona [Elise Drew Lion]"
- Phillip McAbee, Medium/Adult Ballet LA
"At the Joyce performance that I saw [in May 2017], Kathryn Alter, Elise Drew Leon, and Jesse Obremski performed with precision and spirit a production of [José Limón's] Concerto Grosso staged and directed by Risa Steinberg."
- Deborah Jowitt, Arts Journal/DanceBeat
"... Kathryn Alter, Elise Drew, and Jesse Obremski articulate the wide, open shapes, sweeping turns around a. bent leg, and sharp arm accents [of José Limón's Concerto Grosso] with grace and confidence... Tall Obremski’s dark slacks and blue dress shirt look pedestrian; he deserves something softer, more flowing to emphasize the lyricism of his dancing."
- Gus Solomon, Solomon Says
"Dancers Kathryn Alter, Elise Drew Leon and Jesse Obremski performed [José Limón's Concerto Grosso] with great musicality, clarity and ease. CONCERTO GROSSO is a jewel and these three dance artists are wonderful in it."
- Jeff Slayton, SeeDance News
"They [The Limón Dance Company] opened with Limon's "Concerto Grosso,"... for three dancers: Kathryn Alter, Elise Drew Leon and Jesse Obremski, whose dancing epitomized simplicity, elegance and lyricism. The three exuded a joy that made you want to get onstage and breathe the same air; their adagio was a miracle of control, stopping time; in the finale, the release of pent-up energy could be felt viscerally."
- Susan L. Pena, Reading Eagle
"Jesse Obremski is the kind of dancer whose movement style mirrors his personality. His movements are very calm and fluid, yet there's something very grounded about them at the same time. There's nothing extra about any of his movement. It's very straight to the point. That also pertains to his choreographic style and his performance style."
- Saya Hishikawa, Interview En L'air
"[Jesse Obremski]... the gentlest and kindest of souls. Talent abundant. He was also cast as 'He Who Summons' in [Martha] Graham's Dark Meadow and brought utter elegance and power to the role. Hungry and so appreciative of the gifts he receives, he gives back ten-fold through the dedicated artistry of his work. Within him there is the future as we would like it to be... loving, tolerant, compassionate, creative, giving.
- Terese Capucilli, Former Principle Dancer and Artistic Director of The Martha Graham Dance Company
"The lead couple, Jesse Obremski and Cleo Person, danced it [Paul Taylor's Roses] with fluent simplicity, and a sense of quiet understanding"
- Marina Harss, DanceTabs