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LIVING
April 26, 1987 | By Karen Heller, Inquirer Staff Writer
Each year, the Metropolitan Museum's Costume Institute, under the aegis of fashion doyenne Diana Vreeland, mounts a 10-month show that often has a direct influence on contemporary clothing. Vreeland, the former editor of Vogue and Harper's Bazaar, is known for being a powerfully prescient muse in these matters. The current exhibit, "Dance," has proved to be no exception. Even before the Met show opened in Manhattan in December, miles of tulle and pouf dance skirts had been introduced for spring in Europe and New York.
NEWS
October 18, 1991 | by Janet Anderson, Daily News Dance Critic
It's a day like any day for dancers in the 1990s, filled with sexism, racism, AIDS, physical challenges - and unrequited love. Or so Marla Blakey's one-act play, "The Dancers," which received its first local performance last night at the Society Hill Playhouse, would have us believe. There is a fascination with dancers' backstage life and training that sometimes seems to far exceed interest in their on-stage performances. People apparently can't get enough of the suffering and deprivation, yet rarely ask why dancers willingly, even happily, pursue such an arduous life.
ENTERTAINMENT
June 2, 2000 | By Merilyn Jackson, FOR THE INQUIRER
Philadanco's Wednesday opening-night concert proved there are at least three reasons to go: the dancers, the dancers, and the dancers. The company wraps up its 30th-anniversary season at the Prince Music Theater through . On the Shoulders of Our Ancestors is billed as an evening-length work, but it is really a loose suite of four works held together by screened excerpts from a television documentary to run next year on PBS, Free to Dance....
NEWS
March 26, 2003 | By Miriam Seidel FOR THE INQUIRER
Filmmaker Maya Deren had completed only a few short films when she died at 44 of a brain hemorrhage in 1961. But her small body of work is recognized for its dreamlike power, and she is considered one of the most important avant-garde filmmakers ever. A new documentary about Deren, In the Mirror of Maya Deren, by Martina Kudl?cek, is the centerpiece of a film series at the Prince Music Theater this weekend. "Motion Pictures: A Moving Collaboration Between Filmmakers and Dancers" will screen a number of films featuring dancers.
ENTERTAINMENT
April 20, 2002 | By Merilyn Jackson FOR THE INQUIRER
Benjamin Franklin may have harnessed electricity in Philadelphia, but for the audience at the Annenberg Center for the Arts Thursday night, Grupo Corpo Brazilian Dance Theater embodied it. Grupo Corpo commissioned Philip Glass and Uakti (wah-kee-chi), the renowned Brazilian ensemble that makes its own instruments, to create the opening work Seven or Eight Pieces for a Ballet. Evoking rivers of the Amazon basin, it has since been recorded on the CD Aguas da Amazonia (Point Music)
NEWS
November 18, 2002 | By Merilyn Jackson FOR THE INQUIRER
Four years ago, Gin MacCallum appeared like an apparition in a solo performance choreographed and performed by her - a diminutive tornado of movement, surefootedly destroying any doubts that might lie in her path about her talent. In her first full-length choreography, "In the Shape of a Spider," performed over the weekend at Christ Church, the surefootedness was still there and so was the choreography for her strong soloists, but she was not so successful in massing her group of six unevenly matched dancers.
ENTERTAINMENT
January 11, 1987 | By Patricia O'Haire, New York Daily News
Tommy Tune didn't want any dancers for the cast of his newest Broadway project, Stepping Out, even though Tune is a dancer and choreographer himself, and even though the play is about dancing. The play, which has been running for several years in London and opens here tonight, is about a group of people - eight women and one man - who get together one night a week for a tap-dancing class. It's a sort of social event for them, besides being a way of getting in shape. "It was very important that they not know how to tap," Tune said the other day, his first day off almost since rehearsals began early last month.
NEWS
July 25, 2004 | By Wendy Walker INQUIRER SUBURBAN STAFF
Dance teachers normally don't need to worry about thunderstorms. But Jane Roosevelt, founder of Longwood Performing Arts, does. For the last four years, her students have put on a free outdoor dance recital at the pavilion in Anson B. Nixon Park in Kennett Square. "There is nothing like dancing outside," she said. "The backdrop of the trees and the lake is unbelievable. . . . It's a perfect place. " Dancer Caroline Pennartz, 18, said she enjoys having the audience so close.
ENTERTAINMENT
February 7, 2004 | By Merilyn Jackson FOR THE INQUIRER
When the Australian Dance Theater came to Dance Celebration at Annenberg Center in 2002, a longshoremen's strike held up its set on the West Coast. This week, Homeland Security officials were holding the Sydney Dance Company's set for artistic director Graeme Murphy's eagerly awaited American premiere of Ellipse. It sat for two weeks on a New York dock waiting to be X-rayed until a senatorial phone call released it - not in time, though, for Thursday night's opening show. But while we might have been protected from an Aussie attack by set, we were not safe from their attaque by dance.
NEWS
March 19, 2009 | By Merilyn Jackson FOR THE INQUIRER
The 16 dance numbers in the 2009 Garden State Dance Festival's two-weekend run at Rutgers-Camden's Walter K. Gordon Theater offer a kaleidoscopic glimpse of what emerging dancers can do when matched with established choreographers. Several of the works in last weekend's opener were highly polished, mobile - and as colorful as stained glass. They ranged in genres from ballet to boogie, pas de deux to large ensemble. Among the best works - and repeating tomorrow - is Camille A. Brown's excerpt from her larger one-woman piece, The Evolution of a Secured Feminine.
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NEWS
May 14, 2016 | By Ellen Dunkel, STAFF WRITER
T he desert comes alive when the sun goes down, and so does MOMIX's Opus Cactus , which opened at the Prince Theater Wednesday night. A favorite show from the company's vault, Opus Cactus hadn't toured for 12 years. Time to clear out the tumbleweeds - and, indeed, the performance starts with a glow-in-the-dark homage to this rolling symbol of the American West. The show is a series of nightscapes about desert life. Dancers represent snakes, lizards, birds, Gila monsters, flowers - and, of course, cacti.
NEWS
April 28, 2016 | By Ellen Dunkel, STAFF WRITER
Change is constant in the dance world. But the suddenness and scope of the roster changes announced Monday for Pennsylvania Ballet stunned many in that world and out of it. Angel Corella, the company's artistic director and an international ballet superstar, said 17 of 43 dancers - nearly 40 percent - would be leaving the company. Twelve were let go and five are leaving on their own, including favorites such as Lauren Fadeley, who is going to to Miami City Ballet as a soloist; and Elizabeth Mateer, who will be joining the corps of the San Francisco Ballet.
NEWS
April 27, 2016 | By Ellen Dunkel, Staff Writer
In a move unprecedented in Pennsylvania Ballet's 53-year history, nearly 40 percent of the dancers will be replaced for the 2016-17 season, artistic director Angel Corella said Monday. Of 43 dancers, 12 were let go and five are leaving on their own. Others, dancers say, are thinking of leaving. Pennsylvania Ballet, like most ballet companies, offers dancers one-year contracts. The rosters are always in flux, but it is less common to replace so many dancers at once. "It's always a difficult process for everyone" when contracts are not renewed, Corella said.
NEWS
April 17, 2016 | By Merilyn Jackson, For The Inquirer
The festivalization of the arts has long been one way for audiences to see artistic works from other places. And whether it's a dance or theater company, if spectacle is a hallmark, you can bet Los Angeles-based Diavolo will be at the top of the list of festival programmers around the world. Thursday evening at the Merriam Theater, as part of the Philadelphia International Festival of the Arts (PIFA), they performed a show titled Architecture in Motion , comprising two gigantic works, L'Espace du Temps and Cubicle . They were to have had a two-night run but were cut down to one, which may have accounted for the excited overflow audience.
ENTERTAINMENT
April 13, 2016 | By Merilyn Jackson, For The Inquirer
The Brooklyn company Gallim Dance, nearly a decade old, made its Philadelphia debut Sunday evening at the Kimmel Center's PIFA festival at Verizon Hall. Titled Attack Point , the world premiere, choreographed by Gallim founding director Andrea Miller, took place in collaboration with organists from the Curtis Institute of Music and Choral Arts Philadelphia. The concept of the collaboration is "a night of dance listening and organ watching. " So, with the grand Fred J. Cooper Memorial Organ looming relâche above us, a smaller organ reigned on stage, where we could watch the organist's feet at the pedals for the nondance works.
ENTERTAINMENT
April 5, 2016 | By Nancy G. Heller, For The Inquirer
'I don't roll on the floor," said Meredith Rainey, one of Philadelphia's best-loved (and tallest) ballet dancers, during the post-show Q&A. "It's a long way down. " Yet, there he was Friday night at the Annenberg Center's Prince Theater, doing exactly that, as he and co-choreographer Tania Isaac presented the world premiere of (In)Visible . An hour-long piece combining movement and music with spoken text, this work was partly inspired by Ralph Ellison's 1952 novel Invisible Man , a classic statement about the position of black people in white America.
NEWS
March 6, 2016 | By Nancy G. Heller, For The Inquirer
The Dance Theatre of Harlem (DTH) roared Thursday night into the Annenberg Center, demonstrating the impressive technique and charisma of its dancers - and an odd taste in programing. Though each of the four short works on the bill was by a different choreographer, too many of the steps seemed the same, and too often there were tricks (such as quadruple pirouettes) that had no apparent reason for being there other than to prompt the audience to clap - which it did, enthusiastically and often.
ENTERTAINMENT
February 27, 2016 | By Molly Eichel, Staff Writer
After 20 years of touring with Lord of the Dance , Michael Flatley, 57, is hanging up his dancing shoes. He's retiring after one last tour, Lord of the Dance: Dangerous Games, hitting the Wells Fargo Center on Sunday. This might be Flatley's last time performing in Philadelphia, and he'll miss the area. "We would start in Philadelphia or New Jersey because we knew the audiences were great," Flatley said. "They're a learned audience. They've seen so many things before. You get a truth in their response.
ENTERTAINMENT
February 24, 2016 | By Merilyn Jackson, For The Inquirer
Nora Gibson Contemporary Ballet, a seven-year-old Philadelphia company, staged the world premiere of Ephemeral over the weekend at Christ Church Neighborhood House. Inspired by "life cycles, seasons, and our relationship to time," Gibson said she listened to Vivaldi's Four Seasons frequently while creating this fresh, postmodern ballet. The 70-minute series of discrete classical ballet poses driven by fluid changes in arm and foot positions often ended in croisé derriere: one foot pointed behind, the other turned to the side in front; one arm curved above the head, the other trailing horizontally to the side.
ENTERTAINMENT
February 24, 2016 | By Peter Dobrin, CLASSICAL MUSIC CRITIC
It's a safe bet the only thing standing between children and their ability to absorb the most challenging art is the adult with a limited imagination. There was no danger of that happening Sunday at the Curtis Institute of Music, where a new production of The Jungle Book emerged from the pen of a group of grown-ups with an enormous sense of regard for their audience. What's more, the 45-minute ballet with a stunning small-ensemble score and crisply told story is an absolute charmer.
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