2007 : Companion Planting
"...the "seedlings" ranged from silent, highly intellectual gestures to amusing, flat-footed ballet-with-irony,"
Lee Williams, Houston Press

2004 : 's-a tale of possession
"The choreography for nine dancers is expertly woven in seamless vignettes, each following the one before like the newest toy in the roomful that all deserve attention. This is Weiner's most mature dance yet, and she taps in th the very adult sense of what is means to possess things, and people."
Molly Glentzer, Houston Chronicle

February 2006 : Night Moves
"In Night Moves, the solo Mark Dendy created for her, Weiner sheds her comedic demeanor to explore the territory of moving forward in life when you just can't go on. Midway, Weiner curls up in fetal position and begins to weep silently."
Nancy Wozny, Dance Magazine

December 9, 2002 : The Cooking Show
"The meat-pounding trio for Susan Blair, Amy El and Penny Tschirhart was another highlight. (And you thought those Stomp guys had found every percussion interument in the house.)...For all of it's bloody mess, the vignette was a tidy comment on aggression and lust."
Molly Glentzer, Houston Chronicle

October 2000 : Night Moves
"The most impressive offerings at this sixth annual event were created by out of towners. Jane Weiner of Hope Stone, Inc. started the evening off nicely with a piece set to Nina Simone songs and choreographed by New York postmodernist Mard Dendy in collaboration with Larry Keigway, Night Moves was full of Dendy's signature vocabulary: Martha Graham basics made twisted and frenzied by her protege. The only true soloist of the program, Weiner dwarfed the ensembles with her presence, her fevered and frustrated emotion reaching even the spectators on the hill."
Lauren Kern, Houston Press

October 28, 1997 : Two Heads/Four Feats
"Two Heads/Four Feats drew soldout crowds Fiday and Saturday (a Sunday mantinee was quickly added). The drawing cards were two women, Michelle Spencer and Jane Weiner, each occupying one-half the evening. Together their work demonstrated wit, kookiness, exasperation and resonant affirmation about the lives, fears, triumphs and losses of women today."
Ann Holmes, Houston Chronicle