"Stephanie Paul is a beautiful, enticing soloist, limber and spicy, with hints of Caribbean hues in her arsenal."

Sid Smith, Chicago Tribune

 "Whether it’s a highly stylized kickboxing sequence or a character who sneaks into the gym early to have a private and uninhibited moment of dance,  movement director Steph Paul succeeds in creating pieces that are almost always set in reality, though it is heightened and highly stylized.” [How to Defend Yourself, Humana Festival - Actors Theatre of Louisville]

"This is a rare production of “Richard the Third” that posits that the play is not just about Richard. Movement designed by Steph Paul effectively has members of the ensemble stomping, clapping, and beating their chests to quicken heartbeats and create war drums." [Richard III, Shakespeare Theatre Company]

"Movement Director Steph PaulMusic and sound designer Lindsay Jones and Fight Choreographer Robb Hunter have all done a great job lending excitement to the evening." [Richard III, Shakespeare Theatre Company]

"Ballroom scenes are beautifully enhanced with Steph Paul's movement direction. The effect is both cinematic and theatrical." [Mansfield Park , Northlight Theatre]

"Steph Paul did a marvelous job. This cast moves fluidly on the small stage.” [Mansfield Park , Northlight Theatre]

"It’s to the credit of writer Isaac Gomez, co-directors Stephanie Paul and Maggie Popadiak, and especially the vibrant cast that the show feels very much like we’re hearing these stories for the first time. The voices we meet in this narrative collage feel distinct, not filtered through a sole authorial voice." [Ofrenda, Albany Park Theater Project]


 "Directors Stephanie Paul and Maggie Popadiak mix elements of dance and movement in with the storytelling, adding an expressive element to the production which viscerally communicates the emotions that words sometimes cannot." [Ofrenda, Albany Park Theater Project]


"Stephanie Paul’s choreography brings vibrancy to Nana’s neighborhood, a place alive with street performers and unexpected beauty." [Last Stop on Market Street, Chicago Children's Theatre]


"Choreographed with spunk and spirit by Stephanie Paul, the story leaps from the page to the stage. It’s an infectious, colorful, heartwarming story with an important lesson for everyone." [Last Stop on Market Street, Chicago Children's Theatre]


"Special kudos should be given to the movement director, Stephanie Paul. She has choreographed the action so deftly that watching the girls stretch before each game and run drills as they talk and engage becomes mesmerizing. It feels like an actual soccer team has been transplanted onto Studio’s fourth floor." [The Wolves, Studio Theatre]


"You can’t take your eyes off these athletes, because that’s what they are, not just actors. The play had a movement choreographer (Stephanie Paul) and the good work shows in the seamless integration of soccer warm ups, drills, and noodling around with the ball that look completely natural. This is a play that focuses on physical awareness with the same artful delicacy as the dialogue." [The Wolves, Studio Theatre]


"Stephanie Paul probably has the most challenging technical role as the Body Percussion and Movement Choreographer. The fights looked brilliant. She managed to get her actors to look like trained fighters. The body percussion is possibly one of my favorite things I have seen in a show in a very long time." [The Royale, City Theatre]


I’ve never seen a show before that captivates you so much with rhythm and the natural effect of bodies making noise. This play smarts with anticipation because of its artfully directed pace. I owe this experience to “Body Percussion and Movement Choreographer” Stephanie Paul and the interlacing that occurred to carry the plot so fluidly." [The Royale, City Theatre]


"Movement and body percussionist Stephanie Paul, did an outstanding job in giving this non-musical show a musical feel. The way the fights were staged, the way the ensemble cast created rhythms though stomping and clapping, gave the production a gritty but ethereal feel." [The Royale, The Repertory Theater of St. Louis]


"The feel of the piece is truly captured, and aided greatly by Stephanie Paul's movement and body percussion." [The Royale, The Repertory Theater of St. Louis]

"Stephanie Paul's wonderfully acrobatic, vaudeville-tinged quintet "Ourchestra" makes an impromptu band out of a group of musicians who've forgotten their instruments." [And Now for the Dancing Pants!, Chicago Dance Crash]


"There are tricks aplenty, with highlights including Stephanie Paul’s percussive choreography using bodies for instruments." [And Now for the Dancing Pants!, Chicago Dance Crash]

Learning Curve, which is directed by David Feiner and Jennine Willett with Marissa Nielsen-Pincus, Stephanie Paul, Maggie Popadiak, Edward Rice, Rossana Rodriguez Sanchez and Carlton Cyrus Ward, is a very sophisticated piece of theater. There are, after all, 26 sets, all of which are lit, many of which are filled with complex movement and some of which feel more like art installations. Most high school drama you'll have seen will have inhabited merely a literal plane; Learning Curve embraces the symbolic, the inner life of the kid, the deeper context.” [Learning Curve, Albany Park Theater Project + Third Rail Projects]


"There is nothing uneven about the troupe's percussive abilities, or the pop dance acrobatics of its women, led by beguiling and passionate Stephanie Paul, Be the Groove's able artistic director." [Winter Break Down, Be the Groove]


"She's great."

  • Mom