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Treklis’ work is memorable for his ability to “create” shapes and patterns, rather than simply incorporate the expected contemporary movements. It is here that he captures our attention and leaves us wanting more. This work is also memorable for the unexpected.
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— Elizabeth Ashley: dance informa
“Standout performances on the night came from Petros Treklis, both in a solo, and in a duet with Cass Mortimer Eipper where both men impressed.”
— GERALDINE HIGGINSON: DANCE AUSTRALIA
“SDC dancer Petros Treklis’s The Art of Letting Go comes a close second to WOOF for beauty of composition and he adds a jolt to the heart. Seven dancers are seen as aspects of one mind as Treklis repeats touching motifs of falling, rising, spinning and reaching to the music of Rachmaninov. The movement is often very fast but always splendidly structured and never less than lyrical and deeply felt. A huge success.”
— deborah jones: FollowSpot
“The highlight comes with an outstanding male duet danced by Cass Mortimer Eipper and Petros Treklis, the power of muscular attraction, denial, threat and tenderness with a lyrical cello solo echoing the intensity of emotion. Spontaneous applause erupted.”
— Lynne Dwyer: THE DAILY TELEGRAPH
“Petros Treklis is also concerned with the mind in The Art of Letting Go, for seven dancers, representing one person's efforts to forget and move on. A beautifully crafted piece, it is reminiscent of mid-20th century European choreography with its elegantly shaped ensemble, fluid communication between dancers and standout duets and solos, starting with a notable performance by Sam Young-Wright.”
— JILL SYKES: THE SYDNEY MORNING HERALD
“…and I was sorry that the intense third duet, for Thomas Bradley and newcomer Petros Treklis, was not longer.”
— deborah jones: FollowSpot
“Next came Petros Treklis’ The Art of Letting Go .” 7 dancers portraying one man and his mind”. It opened with a fantastic solo for Sam Young-Wright looming out of the darkness. The seven wore grey outfits. In some ways it is perhaps reminiscent of Murphy’s ‘Purgatory ‘. Choreographically the work featured fluid, slinky movement, exciting ensemble work, runs, some striking, dangerous lifts… isolation movements are included, as well as stylized repeated small movements. There is an atmosphere of love and loss. It concludes with more tumultuous slinky, ensemble work.”
— LYNNE LANCASTER: SYDNEY ARTS GUIDE
“…a heartfelt pas de deux that on opening night Cass Mortimer Eipper and Petros Treklis invested with tenderness and something like emotional caution or unease.”
— deborah jones: FollowSpot
“A duet danced by Janessa Dufty and Petros Treklis showed a comfortable partnership that felt very easy to watch.”
— Chelsea Clark: THE DAILY TELEGRAPH
“…But back then you certainly never saw anything like Bonachela’s lengthy male duo with Cass Mortimer Eipper and Petros Treklis. Quicksilver in its constant reaching and withdrawing, the duo is also tender with detail of hands and other recurring motifs.”
— MARTIN PORTUS: DAILY REVIEW
“Greed opens in a long sensual duet between this dominant “queen”, Lisa Rowley, and the lone man (Petros Treklis), which is again repeated towards the end of the work. Rowley is a powerhouse pocket Venus with steely boa constrictor thighs, deep, diamond-shaped Egyptian eyes and a permanent “don’t f*** with me” expression; her glued-on disdain contrasts with an escort who is graceful, supportive and servile.”
— Graham Watts: DANCE TABS
“But at the heart of Anima is a male duet, long and intimate, although punctuated by occasional tension, between Cass Mortimer Eipper and Petros Treklis. The male duet has become something of a signature element for Bonachela and this one, which required huge stamina and body strength, was filled with exceptional moments when we had to ponder at the nature of the relationship between the two protagonists.”
— Michelle Potter: DANCE TABS