August 12, 2001 |
The indomitable Joan Myers Brown and her dance troupe, Philadanco, are no strangers to travel. In the 1990s, they collected baggage checks from Turkey, Italy, Germany, Canada and Britain. Last year took them to a dance festival in Korea, which "had its difficulties," Brown allowed, "but was one of the best tours ever. Travel has two objectives: to introduce the company to new audiences and to allow the dancers to experience different cultures. " Last month, the troupe discovered a lot more about how the new world is ordered after spending 10 challenging days in post-communist Poland.
May 30, 1990 |
The repertory that brought glowing reviews to Philadanco during its New York season at the Joyce Theater in April will be performed during the company's 20th anniversary season, at the Zellerbach Theater in the Annenberg Center. The season will begin with a gala performance tonight and run through Saturday. The Philadelphia run also will feature a special tribute - a piece choreographed by Harold Pierson, Philadanco's first choreographer. Called Continuum, it is set for eight alumni of the company, all of whom teach in the Philadelphia area.
April 23, 2013 |
What a smokin' program Philadanco gave at the Perelman Theater last weekend! On Friday, Danco veterans and newbies alike danced like a well-oiled machine, gunning to overtake the pack of dance companies on the Avenue of the Arts. Within the broad time-travel theme of the Philadelphia International Festival of the Arts, artistic director Joan Myers Brown created a bill that began with the late Harold Pierson's 1971 Time/Space , set to Nina Simone's "Sinnerman. " (Pierson was once Danco's artistic director.)
May 2, 2009 |
"All new" sounds exciting, but it can also mean "not yet broken in. " Philadanco presented three world premieres and a company premiere in a program called "New Faces" Thursday night at the Kimmel Center's Perelman Theater, and while all the pieces were promising, they were still rough around the edges. Philadanco turns 40 in 2010, and the plan leading up to the anniversary was to revisit its history last fall and present new choreography now. The program of older work was stunning; the dances felt custom-fit for the dancers.
May 29, 1991 |
Philadanco, the city's premier showcase of black dancing talent, has weathered its share of storms over the last six months. It returns to the spotlight tonight as it opens its spring season at the Annenberg Center. Things are looking up: The dance company comes to the West Philadelphia stage fresh from a two- week residency at the prestigious Jacob's Pillow Dance Festival. Its headquarters in West Philadelphia is being renovated. And the troupe has signed on for a return to New York City for a second run at the Joyce Theater, one of dance's most important venues.
September 7, 1996 |
Four dancers garbed in the layers of the homeless move across the stage. They make small, slow individual circles as they cluster together; they make gestures of supplication. A mood that is wary, tentative, then curious envelops the theater as these silent searchers move across intricately pulsing rhythms. Over taped Steve Reich music, a high voice reading from Anne Frank's diary is occasionally heard. The dance is Kiamsha, which is Swahili for awakening. Kevin Thomas Malone, a company member of Philadanco, as the Philadelphia Dance Company is known, choreographed it following a visit to the Anne Frank House in Amsterdam.
September 12, 1987 |
Things picked up in the second half of the concert last night, but for a while it didn't look like the Philadanco dance troupe we have known. And that is not just because the performance at the Painted Bride Art Center featured only men. When you think of Philadanco's male dancers, images of brawn and sass and finely shaped movement come to mind. Last night, the mood was brooding, soft-spined and sentimental - in short, adolescent. The fact is, many of the choreographers are not much further along than adolescence.
June 5, 1993 |
In a season top-heavy with full-evening dances, the change of pace offered by Milton Myers' Sketches, a premiere offered Thursday at the Annenberg Center as part of Philadanco's spring program, was especially pleasurable. Moreover, the last of the five sketches is one of the most intriguing pieces to be seen all year - sketch or not. This untitled segment, short and, more important, terse, begins with a line of dancers plodding across the back of the stage with odd little hops, their bodies bent over as though carrying great burdens.
May 20, 1988 |
Telling the dancer from the dance is one of the conundrums that dancegoers continually find themselves having to sort out. The question was especially relevant last night when Philadanco opened a three-day run at the Walnut Street Theater. Even though the dances were by different choreographers, they looked very much the same. Was this because the dances did indeed have much in common, or because the dancers brought the same approach to each of them? The Philadanco people tend toward extreme intensity, squeezing every ounce of juice out of the movement given to them.
December 9, 2000 |
Daniel Ezralow stands in a lonely and enviable position right now, as a choreographer recognized in modern-dance circles, and sought after in Los Angeles and elsewhere for his ability to set large groups happily in motion. Fresh from movement-planning duties for Dr. Seuss' How the Grinch Stole Christmas, Hollywood's Christmas extravaganza, he has set his Xmas Philes on Philadanco for the troupe's own seasonal spectacle. Instead of a story dance (versions of the original Grinch tale and " 'Twas the Night Before Christmas" were considered)