Hinds has found "it" in Petronio's movement after several years in the company, and he shows it in the opening solo of Strange Attractors Part 1

Quinn Batson

Strange Attractions Part I (1999) opened with Barrington Hinds swooping onto the stage with grand leaps, balances and fast head turns in true Petronio style; big, wild and fast.

Charmaine Warren

Barrington Hinds subverts balletic maneuvers such as pirouettes and beats and all manner of jumps—canting them, blocking them, diverting the movement impulse elsewhere, and plunging them into a stew of wholly unconventional ingredients.

Deborah Jowitt

A wondrous duet by Natalie Mackessy and Barrington Hinds to Cave's Stagger Lee ode, ingeniously melded with a richly complex male quartet, deserve mention.

Sid Smith

Barrington Hinds burst across the stage from an opening trio, using the angles of his limbs and powerful muscles to counter the pale, throbbing gray of the surrounding “architecture.”

Martha Sherman

Barrington Hinds finds something in his opening solo; again the Petronio forge is working, creating a finished dancer from a giant hunk of raw metal.

Quinn Batson