From Stowell’s initial outing in this work , this small fleet dancer stood out for his velocity and poeticism. Now in this springtime ensemble he expanded boyish virtuosity into interpretive maturity. Stowell elongates the stretch and arc of his leg so luxuriously that it seemed a metaphor for waking from a long sleep. He renders his solo a mythic journey stepping zigzag through an unseen obstacle course.
San Francisco Chronicle
The real star of the show was Christopher Stowell as Alain, who built the character very much on dance terms. Stowell, our cleanest technician and most scrupulous stylist of either sex, is perhaps our most interesting dancer. Alain’s idiosyncrasies shaped every move, especially when Stowell was in the air, and were never clearer than in the dancing itself: he shaped trajectories so that when he “stuck” his landing in a pose of exquisite silliness )that was simultaneously a beautiful rotated attitude), the image became an icon. The comic line was drawn with as sure a sense of the ridiculous as as little regard for the necessities imposed by gravity as if he were Mighty Mouse or Bugs Bunny.
World Ballet and Dance
I admire Christopher Stowell for his purity of style and frank manner. Stowell was the only one who got Agon right; in the second male role, he was vigorous, clear without calculation, and blessedly unassuming- delivering this astonishing choreography as if it had come fresh from Balanchine’s hand.
New York Magazine
There was Stowell’s brilliantly ironic Mercutio, an achievement that will be very difficult for the company to equal in the years ahead…Stowell remains the complete classicist ( can there, should there be a Romeo in his future?). Saturday’s leaps, pirouettes and recoveries were exemplary, and so was the impersonation. His gnat-like Mercutio would have likely goaded a saint to armed combat.
San Francisco Examiner