Katya Delakova and Fred Berk, who hail respectively from Yugoslavia and Vienna, Austria, danced for a packed house that was so responsive the audience almost became a part of the performance. This is particularly remarkable since the dancers are unhyphenated modern dancers and the audience was not an experienced dance crowd. The reason was apparent. The dancers are good dancers with the God-given lyric movement and the well-trained bodies that mean dancing to most people, and their dances are good adult subjects clearly expressed. Not once during the program did the uninitiated have to wonder what was going on. The dancing was clean and it was attractive visually. There was emotion, intellect and humor.

Delakova and Berk use words in their dances – merely one dramatic word or a brief phrase to add to the mood of the dance rather than to explain it. Delakova has a strong technique and a piquant charm that makes her pleasant to watch.

The most effective suite of the numbers presented was one based on refugee experiences. Most moving was Flight with its instinctive running away, its agonizing delays and frustrations. Another memorable dance was Decision with its clearcut brave affirmation of building anew.

The gay Hora that concluded the program was original in actually including the Hora step – a novelty when one thinks back over all the horas and pavannes and minuets that one has seen on the concert stage that were just so many run-of-the-mill modern dances.

–A. B., Dance Magazine, May 1946, p.14.