Rockland Review Penguin Rep’s
“Mambo Mouth” is a must see.
“In this multiple-character
performance. Mr Sanchez clearly
demonstrates his enormous energy,
talent and versatility. He sings, he
dances, he controls the stage, and he
does it all with quality, style, and
panache. He is most appealing and
convincing with each portrayal. Mr.
Sanchez makes us truly believe that
under all playwright John Leguizamo’s
words and bravado, there exists a
longing for a better life.”
By Norma Garfield


Rockland Journal-news
“Sanchez is a must see in
Mambo Mouth”.
“Mambo Mouth is a 90 minute
collection of one-man vignettes
portraying six Latino characters types…
All very funny. All brilliantly executed
by Alex Sanchez, who is, by far, the
most compelling reason to see this
show. He is energy personified and
the range of his skills, from comedy
to dancing to portraying a totally
believable female, are extraordinary.”
By Skip Maloney


The Dallas Morning News
“Tempest Full Blown”.
“Alex Sanchez brings off the role of
Ariel, movingly. His sudden farewell
embrace when Prospero at last gives
this airy spirit his freedom is a nice
touch.”
By Lawson Taitte


Star-Telegram “Shakespeare
Festival puts on a Tempest with
panache.”
“Sanchez rides Ballard’s energy and
creates such a strong chemistry
between them that, when Ariel is
finally released from Prospero’s
control, it’s a break-up that’s poignant-
and surprisingly unexpected, despite
the fact that because we know this
play, we should have seen the
outcome coming.”
By Mark Lowry


North Shore Sunday “Carousel”
Alex Sanchez channels Jimmy Cagney
as Jigger Craigan. Sanchez is a lot of
fun to watch: Craigan is a sleazy jerk,
but Sanchez manages to make him a
likable sleazy jerk."
By Adam Reilly


The Theater Mirror “Carousel”
“Alex makes us hate him as Jigger(he
makes an excellent rat). Then he
makes us laugh when he shows us the
lighter side of his character in a scene
with Carrie."
By Robert Guenther


The Hartford Courant “Gershwin
Revival Full Of Silly Fun. Strike
Up The Band.”
“There are playful love ballads such
as “17 and 21” sweetly rendered by
the boyish Alex Sanchez and the doll-
like Kristen Chenoweth.”
By Malcom Johnson
New York  Times “Ballet
Chicago”
“The show was nearly stolen by David
Newsome, Samuel Bennett and Alex
Sanchez in a fast spinning, high flying
trio reminiscent in its powerhouse
dance theatrics of the 'Sinner Man'
dance from Alvin Ailey’s Revelations."
By Jennifer Dunning


New York Times “Ballet Chicago”
"Samuel Bennett (a whiz of a turner),
Mr. Newsome and Mr. Sanchez,
brimming with energy, have virtuoso
solos."
By Anna Kisselgoff


New York Post “Fosse”
“There are breakout moments in Fosse
by the energetic Alex Sanchez”
By Donald Lyons


The Associated Press “Fosse”
“You can almost hear the audience
sigh with contentment as Jane Lanier,
Michael Paternostro and Alex Sanchez
strut, slouch, and swivel their way
through “Steam Heat”, a classic dance
trio from Pajama Game.”
By Michael Kuchwara


San Francisco Chronicle “Bob
Fosse still sizzles.”
“Alex Sanchez, a real find, emerges as
one of those dancers who’s every
entrance is a reason for glee.”.
By Octavio Roca


Attitude Magazine “Ballet
Chicago”
“ The best thing about Gerard Charles
Feral Forms is the opportunity it allows
to see upcoming dancer Alex Sanchez
featured as the preyed over victim. Mr.
Sanchez has a wonderful dancing body
and personal magnetism. From his
dancing, you can see one example of
the solid legacy of great American Male
Dancers that our country can pride
itself on."
By Bernadine Jennings
The New York Times "Where’s
Charley?"
“The choreography by Alex Sanchez
for the musical-comedy numbers is
frisky and appealing.”
By Charles Isherwood


The New York Post "Where’s
Charley?"
“Alex Sanchez’s inspired choreography
enlivens such giddy numbers as
Pernambuco and The New Ashmolean
Marching Society.”
By Elisabeth Vincentelli


New York Daily News "Where’s
Charley?"
“Alex Sanchez’s smooth and stylish
dances make the big numbers big
fun.”
By Joe Dziemianowicz


New York Magazine "Where's
Charley?"
“McClure creates a physical vocabulary
that’s part Little Tramp, part Gene
Kelly and all Rob McClure, in this he
gets a bold assist from choreographer
Alex Sanchez, at the top of his game.”
By Scott Brown


ABC News "Where’s Charley?"
“Everything seems affectionately and
meticulously done from John Doyle’s
sure handed direction to Alex
Sanchez's inventive choreography.”
By Jocelyn Noveck


Theater Mania "Where’s
Charley?"
“Choreographer Alex Sanchez’s
dances often display a similar
dichotomy, communicating not only
the good breeding of the principles
and their friends but also their
youthful impulsiveness. Sanchez’s
finest work is an extended dream
ballet sequence depicting the sordid
arrival in Brazil that Charley imagines
for his Aunt.”
By Andy Propst


Variety "Where’s Charley?"
Choreographer Alex Sanchez provides
some whimsical stepping for the
Pernambuco and the New Ashmolean
numbers.”
By Steven Suskin


The San Francisco Chronicle -
Savage Jazz Dance
“Alex Sanchez’s Mambo Mio stole the
show and added up to be one well
conceptualized caper.”
By Rachel Howard


The Oakland Tribune - Savage
Jazz Dance
“Alex Sanchez’s dance signature
personifies a flirtatious fiesta with a
trio of celebratory dances that are
playful and in a word, hot.”
By Dino-Ray Ramos


Voice of Dance - Savage Jazz
Dance
“Alex Sanchez’s Mambo Mio ends the
concert on a terrific high. Sanchez
knows the moves and knows, too, how
to conjure scenarios from the slightest
gesture. The three part suite radiates
pure affection for the tropes of
American show dancing. Sanchez
engages his dancers in the most
wondrous manners. I hope we will be
seeing more of his dances.”
By Allan Ulrich


Theater Dogs "Seven Brides for
Seven Brothers"
“ The standout of this production was
Alex Sanchez’s exuberant
choreography. When those brothers
start leaping across the stage, the
affect is thrilling. Whenever the
brothers dance with their eventual
brides, the stage comes to vibrant
life.”
By Chad Jones
Wall Street Journal- Wonderful
Town
"Alex Sanchez's choreography is rousingly
lively, show-stoppingly so in Conga, the
farcicle first-act finale"
By Terry Teachout
Chicago Sun-Times- Wonderful
Town
"Alex Sanchez'z knockout choreography"
By Hedy Weiss
The Daily Herald- Wonderful Town
"Alex Sanchez superb work. Jazzy and
explosive, also reflect a sense of fun"
By Barbara Vitello
Chicago Tribune- On The Town
"Choreography by Alex Sanchez, is fresh,
detailed, athletic and, in several spots,
narratively inspired"
By Chris Jones
Chicago Sun-Times- On The Town
"Alex Sanchez's work is spectacular-wildly
ingenious and playful from start to finish"
By Hedy Weiss
New York Times- Guys and Dolls
"The musicals opening, with their splayed
legged jumps and arm-waving gyrations
recall the choreography of Keystone Kops
comedy-one packed with Kops who went to
ballet school. Mr. Sanchez's best
choreography, at once smooth and punchy,
is reserved for the guys. In the action
packed Crapshooters Dance"
By Sylviane Gold
The New York Times "Where’s
Charley?"
“The choreography by Alex Sanchez for
the musical-comedy numbers is frisky
and appealing.”
By Charles Isherwood

The New York Post "Where’s
Charley?"
“Alex Sanchez’s inspired choreography
enlivens such giddy numbers as
Pernambuco and The New Ashmolean
Marching Society.”
By Elisabeth Vincentelli

Variety "Where’s Charley?"
Choreographer Alex Sanchez provides
some whimsical stepping for the
Pernambuco and the New Ashmolean
numbers.”
By Steven Suskin
Chicago Sun-Times Evita
"A vividly etched production directed and
choreographed by Alex Sanchez as if it were
one extended tango"
By Hedy Weiss
Daily Herald- Evita
"It's an engaging tale, compellingly told by
director/choreographer Alex Sanchez."
By Barbara Vitello
Milwaukee Journal-Sentinal Evita
"A huge part of this productions theatricality
involves director and choreographer Alex
Sanchez's terrific staging".
By Mike Fischer
New York Times- Fiorello
"Thanks to Director Gary Griffin and
Choreographer Alex Sanchez,those melodies
can be savored firsthand in all their lively
variety".
By Ben Brantley