“You can practically hear hearts breaking.” Dance Europe on Sylvia.
“A choreographer of sensitivity and promise.” Fjord Review on Penumbra.
“Remi Wortmeyer surprises us with his portrayal of Aminta as a poetic personality with the ability to make the audience feel the pain of love.” Noordhollands Dagblad on Sylvia.
“The biggest impression is made by the principals Remi Wörtmeyer as the naive Aminta and Marisa Lopez as the divided Sylvia. Wörtmeyer, in particular, with his comic walks à la Charlie Chaplin, makes an endearing character of his passionately yearning but inadequate shepherd.” De Volkskrant on Sylvia
“The virtuosic Remi Wörtmeyer conquers the stage with an amiable swagger.” NRC Handelsblad on Cinderella.
“Remi Wörtmeyer [dances] with great feeling and style.” De Telegraaf on Swan Lake.
“He has the time of his life onstage and a smile from here to Tokyo, which is contagious.” On Stage on Best of Balanchine.
“In 2010, the challenge for the company will be to find a replacement for the talented senior artist and promising choreographer Remi Wortmeyer, who is going to Europe.” Herald Sun 30 December 2009
“The compact but brilliant Tadzio by Australian Ballet senior artist Remi Wortmeyer was far more satisfying, a work I’d be happy to see over and over.” Herald Sun
“The highlight of the program was a fragment, Tadzio, choreographed by Remi Wörtmeyer to Britten’s opera Death in Venice. Cleverly lit, this was a trio featuring the beautiful boy of the title with two friends on the beach. It is a simple enough conception, but with choreography that flowed easily and flattered the dancers, and enough hint of narrative drive to pique the interest. More of this sort of thing please!” Dance Australia
“Remi Wörtmeyer is a fine prince. Maybe the best” Chris Boyd of the Herald Sun on The Sleeping Beauty
“As the Canary, Leanne Stojmenov once again demonstrated star quality, partnered beautifully with an ever-beaming Remi Wörtmeyer … who delivered a lively, deft-of-foot bluebird” The Australian on The Sleeping Beauty
“Remi Wörtmeyer leaps with vigour and grace as the Bluebird” Sunday Herald Sun on The Sleeping Beauty
“A Prince with personality and promise” Sydney Morning Herald on The Nutcracker
“The lead roles of Manon and her student lover Des Grieux were danced by Rachel Rawlins and Remi Wörtmeyer. It was a delightful, beautifully balanced pairing. Whether the tone was romantic, light and whimsical or tragic, Rawlins and Wörtmeyer glowed” The Mosman Daily on Manon
“Rachel Rawlins danced Manon and Remi Wörtmeyer danced Des Grieux. Their pas de deux held the audience spellbound” Stage Whispers on Manon
“Remi Wörtmeyer sparkled in the central role, treating his crisp classical technique with playful respect” Dance Australia on Valetta
“The loudest cheers were for Grand Tarantella, danced with fabulous pizazz by Lana Jones and Remi Wörtmeyer. On the basis of this performance, Wörtmeyer’s selection as the first recipient of a $20,000 award endowed in honour of Walter Bourke is well deserved” The Age
“Remi Wörtmeyer switched off gravity in the electrifying death-defying Grand Tarantella” Herald Sun
“Wörtmeyer’s dancing is reminiscent of [David] McAllister’s, they share a bouncing ball ballon and a sheer infectious joy” Dance Australia
“Rising star Remi Wörtmeyer” The Australian
“Remi Wörtmeyer [has] easy style and engaging presence” Dance Australia
“He’s got this incredible vulnerability and artistry” David McAllister on Remi in The Adelaide Magazine
“Remi Wörtmeyer consolidates his stripes in conceiving this deliciously eccentric work [that is] the sweetest swoon; enchanting” Australian Stage on Fade Not
“[Remi Wörtmeyer] created a moving piece in which the dance rose and fell with the tide of feeling” The Daily Telegraph on Fade Not
“[There are echoes of] Kenneth MacMillan-style partnering in the conventionally balletic Fade Not” The Australian
“[Symphonie Fantastique] rises to success in the pastoral third scene … with the best choreography, Remi Wörtmeyer and Rachel Rawlins bring warmth and wonder to the pastoral couple” The Australian
“Leading the ballet, Robert Curran and Kirsty Martin are cast as the troubled artist and his object of desire, while Madeleine Eastoe and Remi Wörtmeyer portray a more realistic relationship between a young couple – a shepherd and a shepherdess” Dance Europe on Symphonie Fantastique
“Remi Wörtmeyer, Luke Ingham and Danielle Rowe each provide star turns in the three pieces on this outstanding program. Wörtmeyer and Rachel Rawlins are wonderful in their featured pas de deux in Krzysztof Pastor’s Symphonie Fantastique” Adelaide Advertiser
“The pairing of Rachel Rawlins and Remi Wörtmeyer as the ‘pastoral couple’ was extremely successful, as Adelaide-born Remi’s cheer squad amply demonstrated in due course!” Sunday Mail on Symphonie Fantastique
“[Remi Wörtmeyer and Madeleine Eastoe’s] duet was sympathetically danced and their connection strong, embodying the care and love of a deep relationship” Danceinsider.com on Symphonie Fantastique
“Remi Wörtmeyer and Madeline Eastoe are exceptional” Herald Sun on Symphonie Fantastique
“The ballet is worth seeing for the duet of the young lovers in part three, the poet’s wish-fulfilment dream, imaginatively choreographed and ravishingly danced by Madeline Eastoe and Remi Wörtmeyer” Adelaide Review on Symphonie Fantastique
“The pairing of Rachel Rawlins and Remi Wörtmeyer as the pastoral couple was most popular, particularly with Remi’s cheer squad” Talking Pointe on Symphonie Fantastique
“The highlight? Ten minutes of perfection in A Suite of Dances, featuring a solo dancer’s whimsical interpretation of a Keystone Cops-style routine danced to movements from Johann Sebastian Bach’s Suites for Solo Cello. Bravo” Sydney Morning Herald
“A Suite Of Dances is lyrical and interesting. A single dancer on stage moving to a cellist (Emma-Jane Murphy) in a kind of velvet flirtation which was simply wonderful to watch” Daily Telegraph
“As Gurn, Remi Wörtmeyer provides some lively and expressive dance and on a couple of occasions provided some inspired balletic humour as he imitated the fragile movements of the Sylphide in a gawky display” National Business Review on La Sylphide.
“Wörtmeyer, whose style is known to Australian ballet lovers because of his gravity defying leaps and panache, won a prize two years ago which set in motion circumstances which now see him dancing solo with the internationally famous Men In Tutus, in performances which break all the accepted ballet stereotypes” Barrier Miner
“There were masterstrokes of comedy, not the least of which came from the ostensibly ‘straight’ member of the cast, guest performer Remi Wörtmeyer of the Australian Ballet as Prince Siegfried. By far the most imposing of the ‘boy’ dancers in the company, he fully entered into the spirit of things, camping it up with the magnificently awkward swans in the corp de ballet and with Victor Trevino as Odette” Gaynz.com on Les Ballets Grandiva’s Men In Tutus
“Remi Wörtmeyer is the other standout male soloist, circumnavigating the stage in the Esmeralda pas de deux.” Melbourne City Voice
“Remi Wörtmeyer as Jack-In-the-Box in slinky buoyant pants was a treat” Australianstage.com.au on The Nutcracker
“As Jack-In-the-Box, Remi Wörtmeyer lights up the stage” SMT
“[Grand Tarantella] was danced with huge panache on opening night by Lana Jones partnered by Remi Wörtmeyer. Wörtmeyer was in particularly good form” Ballet.co.uk
Check out this brief peek into Remi’s character published in the Body+Soul liftout of the Herald Sun newspaper:
Hold that pose, pause that remoteappeared in The Age (11 February 2008 ) and is about the time Remi spent at New York City Ballet learning the Baryshnikov solo A Suite Of Dances.
Remi featured in the December 2006 issue of Dance Australia and wrote a reflection about his time in New York dancing with American Ballet Theatre.
Where have all the good men gone? appeared in The Australian (14 December 2007) and mentions Remi as a rising star within the male ranks of the Australian Ballet.
This article appeared in the Sunday Mail and is about Remi’s visit to New York where he worked with American Ballet Theatre under artistic director Kevin McKenzie: