May 31, 2005 |
In the risky world of experimental dance-theater, you would expect the artists vying for funding and venues to be dog-eat-dog competitive. But in Philadelphia, true to the area's "brotherly love" moniker, it's just the opposite. Knowing there's strength in numbers, eight like-minded groups, already familiar to local audiences, are banding together to inaugurate the first annual New Festival, which begins today. Why another dance-based festival in a city that has hosted the Philadelphia Fringe Festival each September since 1997 (it's now called the Live Arts/Philly Fringe)
October 8, 1987 |
The Philadelphia Dance Theater made its debut Tuesday night at the Shubert Theater. The 10-member troupe was founded by Domino Nicholas, whose aim is to present works by master choreographers in modern dance. The inaugural program consisted of Ave Maria by Isadora Duncan, Evolution of Ragtime by Anna Sokolow, a revised version of Lament by Doris Humphrey and two pieces by Nicholas himself. Although Nicholas' intention to maintain a modern-dance repertory company is noble and useful, the company's technical proficiency was not sufficient to do the works justice.
June 14, 1991 |
In these financially troubled times, the mere fact of survival is cause enough for celebration. The good news about Dance Theater of Harlem is that it's back in business after a six-month shutdown that began in the fall. The better news is that it has come back without having to pay an artistic price. The troupe held on to its core of principals and soloist dancers through the layoff, preserving its artistic continuity. Its first performance since the layoff in its home town - at the Aaron Davis Hall at City College of New York - finds the troupe dancing as cohesively and as confidently as always.
May 10, 2015 |
Wearing nothing but G-strings, two men and a woman showed off their superhuman strength and chiseled physiques Thursday as they arranged themselves into a series of impossible shapes atop a small table at the Annenberg Center. The ever-changing relationships among the trio - made up of Shawn Fitzgerald Ahern, Jordan Kriston, and Mike Tyus - suggested both seduction and violence. And that was just the opening number. The popular Pilobolus Dance Theater combines collaboratively choreographed dance pieces with short films that act as visual palate cleansers and give the stage crew time to set up for the next item.
March 16, 1991 |
The Pennsylvania Dance Theater, a repertory group from State College, Pa., under the direction of LaRue Allen, offered a program at the MTI Tabernacle Theater last night that was admirable in its range. Yet for all the variety, none of the five works was totally successful. Some of them did not follow through on their implications. A good case in point was Allen's Landler. It is set to some familiar tunes by Johann Strauss Jr., and predictably, the dancers wear 19th-century waltz costumes.
June 29, 1989 |
So stunning was the impact of Bronislava Nijinska's 1923 Les Noces when it was revived by the Royal Ballet in the 1960s, it seemed at the time a mandate to explore the entire canon of this unsung heroine - the sister of Vaslav Nijinski. So far that has not happened, but Tuesday at the City Center, the Dance Theater of Harlem at least honored the late choreographer with an all-Nijinska program that runs through Sunday. It is composed of Les Noces, the fascinating Les Biches, and the American premiere of Rondo Capriccioso, all staged under the supervision of Nijinska's daughter, Irina.
January 20, 1993 |
Stephan A. Love, dancer, choreographer, founder of the Next Generation Dance Theater, Pied Piper and humanitarian, died Monday from complications associated with the HIV virus. He was 38 and lived in Old City. In the world of dance, Stephan Love was a late starter, but a very quick bloomer. He also stood out among those theater types who cloister themselves in extended make-believe and want to put light years between their success and humble beginnings. Love knew early on that he wanted to meld the magic of great dance with the issues that rip humanity's fabric every day. He wanted to produce a cascade of consciousness on the stage that would send a current of greater social awareness through the audience.
November 18, 1987 |
The proverbial well-balanced program became a reality last night when the Dance Theater of Harlem opened a week's run at the Shubert Theater. The bill of fare opened with an easygoing, jazzy number to Gershwin's Concerto in F. Next came an anguished work, Voluntaries, followed by a production synonymous with ballet - The Firebird. There was something for everybody, and yet not enough for anybody. For despite the well-roundedness of the program, there was no one piece with enough distinction to give the evening a center.
November 15, 1987 |
Arthur Mitchell, whose Dance Theater of Harlem opens a week's run at the Shubert Theater on Tuesday, is a hard man to pin down. Around noon one day last week, an hour after he's scheduled to be interviewed and photographed, his secretary coos that he usually runs a little late. An hour later, he still hasn't showed up. Best to have a nice long lunch, consoles the secretary, and come back in the afternoon - around 4:30. Finally, at 5:30, he arrives. But Mitchell still is hardly there.
January 31, 2005 |
The Philadelphia-based company ArcheDream is performing The Poet's Dream this week at the Harold Prince Theatre of the Annenberg Center. Supported by Penn Presents, it is part of an optimistic new initiative called the Philadelphia Presenting Project that offers local talent a chance to perform in the professional space. While the group does have some professional aspects - lighting, elaborate costumes, a decent program - to call ArcheDream a dance-theater company (as it labels itself)