A meticulous observation on female behavior, evoked through an alien realm of feral creatures, half-animal, half-human. The title literally means “does” (as in female deer), but also has connotations from dance history, French cinema, and contemporary life.

Les Biches hit me personally in all the right places: Aesthetically, musically, conceptually it could not have been more tailor-made for my tastes, but even when I step out of that gleeful state of appreciation I see a work that is of lasting quality, extremely unique and easily appreciated by a broad audience.

T. s. Flock, Vanguard

The title of Ochoa’s Les Biches may refer back to Bronislava Nijinska’s work for the Ballets Russes, but this is far from that ballet of society manners. Brandishing bright red elongated finger extensions like talons or antennae that rattle when their hands vibrate, a quartet of women prowls through the space, challenging one another for dominance. If human beings are social animals, then these are their antecedents—if not female deer (biches), then some kind of fiercely rivalrous creature.

Sandi Kurtz, Seattle Weekly

It’s a stunning exploration of femininity and other-worldliness, performed by the company’s four female dancers. Dressed in flesh colored leotards and helmeted in retro swim caps, eyes accentuated by dark, almost sinister makeup, these women are hyper-females, using those eyes to seduce the audience. They beckon us with long red talons that extend their fingers several inches beyond the living hands. They are not the female deer the French word “biche” denotes. Instead, they are haunting creatures from some underwater realm.

Marcie Sillman, And another thing

Les Biches


May 15, 2014
Erickson Theatre Off Broadway


Annabelle Lopez Ochoa


Aphex Twin, Lisa Gerrard, Pyotr Ilyich Tchaikovsky


Mark Zappone


Michael Mazzola