“To start, I just need to say this so I can get it out of the way. I wrote this down in big bold letters. I don’t know if this is creepy or wrong—cause it feels neither—but, April Sellers: “I want to be that block of ice, and I want to be your tongue—both, altogether;” not in a literal way, but in a I-don’t-know kind of way. There, that’s passed.” —Ben McGinley, Minnesota Playlist

“Sellers is driven by emotions. She turns her fear, angst, lust, and desperation into something kinetic and frenetic” —Rohan Preston, Star Tribune

“One of the brightest lights on the Minneapolis dance horizon” —Matt Peikin, Pioneer Press

“Sellers is a master teacher…” —Alison Holland, Kanabec County Times

“Generation Bitch” [curated by Sellers] may be from Minnesota, but their contributions aren’t Minnesota nice—they’re meant to be in-your-face and untraditional.” —Laura Molzahn, Chicago Reader

“Sellers, whose theatrical style and tongue-in-cheek bawdiness are juxtaposed with her proficient choreography and sharply conceived conceptual work, questioned how feminism can survive in the 21st century… “Big Baby” was especially fun, with its homage of queer icons and its irreverent exploration of gender and identity.” —Sheila Regan, CityPages

“The performance is powerful, a serious work that seeks to make sense of the world’s changeling moment that does John and Yoko and Jesus and you and me proud” —Jim Walsh, Southwest Journal

“Sellers shines with the female nude. Never coy, never exhibitionistic, her playful nudes will make you laugh at the same time as they inspire you with the beauty of flesh. And there’s a slight, but not at all bitter, political edge” —Lightsey Darst, Minneapolis St Paul Magazine

“With consummate timing, an abundance of vaudevillian chutzpah, and championship endurance they sang, spouted rap-style monologues, shook their booties, and made their way through an oil spill of stylistically diverse moves. They gave us tough and tender riffs on innocence and experience while sporting a variety of outré costumes.” —Best of 2015, City Pages

“Movement in this piece is used as a way to reveal to us the method of meaning-making in reverse action – deconstructing what we had already assigned meaning to in hopes of seeing other possibilities. Success in this dance comes when an object is revealed as a multi-symbol, when meaning shifts and we catch ourselves off-guard in the face of predictability.” —Emma Barber, Criticism Exchange

Additional coverage is detailed in CV.