"Other numbers throughout the evening felt at once both classical and distinctly of the present. Bob Boross’s “LIFE” was explosive and powerful, with dancers whose each movement felt charged with electricity and sustained momentum, keeping even their prolonged extensions and slower movements filled with life. The number was rooted in classic jazz lines and movements, yet felt vitally fresh, demonstrating how classic jazz lines and technique never goes out of style." Alison Durkee, NYJCP Website (2017)

"Perhaps the most iconic jazz style is the 'classical' style, featuring long lines, isolations, and a cool nostalgic feel. This style was well represented….particularly with Bob Boross' Big Man on Mulberry Street. The piece was a quintessential classic jazz dance…with its cast of fedora-adorned male dancers performing Boross' smooth, stylized choreography with wonderfully controlled movements." Alison Durkee, Criticaldance.org (2015)

"Empty Sky…The Rising is a work that deserves to be seen and savored…It is a fine creation that earns its place in the larger discussion on art inspired by the tragedy of Sept. 11, 2001…the mix of character and movement is brought to an emotionally rich fruition. And we are left with an experience that is well worth the journey." Karyn Collins, The Asbury Park Press (2005)

"At one a jazz showcase and a battle for dominance, Bob Boross' Love Me or Leave Me cleverly set Jessica Summers' statuesque authority against Spencer Smith's antic versatility: an endearing mismatch." Lewis Segal, The Los Angeles Times (2003)

"Bob's work is inventive and individual. It is fashioned with great skill and beautifully honed to the talents of the performers. He understands the dramatic content of the musical number within the flow of the show as well as its entertainment value. He utilizes costumes and props with consummate skill. He is well versed in several dance genres, including jazz dance, tap, vernacular and period dance. This makes him an extremely flexible member of the creative team and a valuable colleague." Donald McKayle, choreographer for Broadway, film, television, and concert dance.

"Bob is a meticulous choreographer. He understands the importance of telling a story through movement. He wants to know what motivates the characters, why they are in the scene, what their objectives are, and how their relationships affect the action…I can't think of another choreographer that I would rather work with." Eli Simon, Drama Dept Chair and Head of Acting, University of California, Irvine.

"Bob has become an avid personality in his desire to carry the technical form of jazz dance to what the serious jazz people continue to work for adamantly. This is to see that the real art of jazz dance is to be expressed in the same realms of the concert theatre, as is the expression of jazz music…Therefore, I may recommend that Bob Boross be recognized as one of the leading contenders for sustaining the value of jazz dance as a concert art form, alongside of me, and a few others that wish to keep dance of the highest level." Matt Mattox, jazz dance legend.

"Bob Boross is a wonderful person with a long line of great credits. He is an artist whom I respect, and rates to be on top of any department which he chooses to do. I highly recommend the best for the best." Luigi, jazz dance legend.

"Bob Boross has been studying tap with me for several years. I highly recommend Bob as one of the finest tap dancers in the country, and as a teach who is extremely knowledgeable in the art of tap dancing. In today's world, it's rare to find a gentleman with such high standards." Bob Audy, tap dance legend.