Susan Schaefer wrote this profile about me for the Southwest Journal in the Twin Cities, Minnesota, published on February 21, 2019:
Craig Harris Profile: A Man For All Seasons, written by Susan Schaefer
Browse a collection of reviews of compositions and productions by Craig Harris and Interference Arts here.
Off-Leash Area’s Dancing On the Belly of the Beast
The sound composition, played live by Craig Harris, enhances the dreamlike solemnity.
Read the full review of “Dancing on the Belly of the Beast” by Caroline Palmer.
Off-Leash Area’s AfterWind
“The performers are largely silent, with the soundtrack provided by a Craig Harris soundscape that may be the real star of the show. Reminiscent of avant-garde tape experiments from the mid-20th century, Harris’s score of rumblings and distant
moans is strange and fascinating. Conventional music would also have worked for this piece, but Harris’s sound
creates a distinctive experience.”
Monday, July 25, 2016 by Jay Gabler in Arts & Leisure
Read Jay Gabler’s full review of AfterWind.
Craig Harris’ sound design (or, as it’s probably more correctly described in the program, a sound composition) kicks in from the very first moment. The audience and performers are awash in sound from beginning to end. At first with a cacophony of speaking voices blending together, accompanied by an underlying track of common sounds associated with such indoor environments.
Sunday, July 24, 2016 by Matthew Everett (Single White Fringe Geek arts blog)
Off-Leash Area’s Afterwind – Everett Review
See more about this show here:
Off-Leash Area’s AfterWind (2016)
It is She Who I See
It is She Who I See is an immersive multimedia performance that celebrates the original woman who is in all of us, produced in November 2012 at the Ritz Theater in Minneapolis, Minnesota.
Janet Preus on “howwastheshow.com” said:
“This a very beautiful piece – a rich kaleidoscope of colors, patterns, still images and video blended with a highly evocative soundscape of acoustic instruments and electronic sound: piano, percussion, English horn and cello, primarily, as well as spoken and singing voices that often serve as another instrument rather than a solo “on top” of accompaniment.
Visually it is stunning. The projections on scrim hung on different planes serve to obscure what we see, on one hand, but bring it all together on the other, even creating a hologram-like effect that really is immersive. The integration of projections and live performance is virtually seamless.”
Read Janet Preus’ full review of the show It is She Who I See.
Learn more about It is SHE Who I See.
Five Books: First Series – the Journey
This is an article by Dean Seal published on “mnartists.org” following a workshop reading of the multimedia oratorio “Five Books: First Series – the Journey”, produced in February 2008.
Five Books – Dean Seal Preview Article
Learn more about the Five Books Project.
The Hill has Something to Say
This is a review by Anthony Tommasini published in the New York Times of Harris’ The Hill has Something to Say, performed in Alice Tully Hull at Lincoln Center in May 2000 by soprano Renée Fleming.
The Red Shoes
This is a review by Rohan Preston that appeared in the Star Tribune of a dance theater production of “The Red Shoes”, produced at Theatre de la Jeune Lune in July 2002.
Learn more about The Red Shoes.
This is a review by David Patrick Stearns published in Musical America in 1983 of Harris’ composition “Threshold.” The composition was performed at the 1983 International Computer Music Conference at Eastman School of Music.
Two By Five
This is a review by McKenzie Porter of the cabaret show “Two By Five”, a revue comprised of compositions by Kander and Ebb, produced in Toronto in 1979.