Dance

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HUBBARD STREET DANCE CHICAGO (Annenberg): Showcasing 40 years of inspiring movement

A cast of incredible movers highlights the long-term success of the company and range of the work they present.

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SATURDAY NIGHT FEVER (Walnut): Stayin’ Alive

SATURDAY NIGHT FEVER is a white-washed adaptation of the classic movie, with double the music and none of the soul. Director/choreographer Richard Stafford seems terrified of losing audience attention for…

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BLACK STEAM (Philadanco): A multitude of one

In celebration of it’s 47th year, PHILADANCO/The Philadelphia Dance Company presented BLACK STEAM, featuring two new works and two old ones.

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SHADOWLAND (Pilobolus Dance Theater): A dynamic journey

An intricate show with a captivating journey maintained with ease through each scene.

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EVENING OF DUETS: Eleven couples dance

The fifth annual Evening Of Duets production featured eleven duets from artists based in Philadelphia, New Jersey, New York, and Congo.

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THE UNDERRATED ACT OF TALKING TO ONESELF (femme. collective): 2016 Fringe review 69

femme. collective has interwoven disparate acts to form a cohesive whole, a gorgeous string of solo, duet and group dances that tackle that, yes, underrated act of talking to oneself

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MILLENNIA (Brad Ogden): 2016 Fringe review 63

Millennia is funny, ambitious, and a little bit confused—just like millennials.

Pictured: Gabriel Cabezas, Chloe Felesina, Edgar Anido, Emilie-Anne Gendron    Photo Credit: Bill Hebert

WITH FLINT AND STEEL (Duende): 2016 Fringe review 57

A highly experimental, improvisational, and fascinating Fringe performance

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PANDÆMONIUM (Nichole Canuso Dance Company): 2016 Fringe review 42.2

An exploration of divorce and disconnection in the California desert.

Irina Varina in SPECULUM DIARIES. Photo credit: David Brick.

SPECULUM DIARIES (Irina Varina): 2016 Fringe review 48

Consider the speculum a tool for looking inward in more ways than one.

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CARRIED AWAY (Brian Sanders’ JUNK): 2016 Fringe review 47

Bridging the gap between dance and physical theater, CARRIED AWAY delivers an exciting, heartfelt, and stimulating crowd-pleaser.

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PANDÆMONIUM (Nichole Canuso Dance Company / Early Morning Opera): 2016 Fringe review 42.1

A testament to what Fringe can do: defy genre, defy theme, defy medium, and somehow still manage to be cohesive and emotionally haunting

Photos by Dudu Quintanilha.

Good Maneries: interview with choreographer Luis Garay

Colombian choreographer and director Luis Garay brings Maneries, performed by (and created for) the fiercely captivating dancer Florencia Vecino, to FringeArts April 14-16, 2016

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HOME/S. 9TH ST. (Kun-Yang Lin/Dancers): Home is where the dance is

Addressing the issues of immigration and acceptance, Kun-Yang Lin/Dancers utilize dance and theatrics to explore the meaning of home.

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WALLS (Darcy Lyons): 2015 Fringe review 67

Covering everything from a cell wall to the Great Wall of China, WALLS explores of how walls—and the acts which build and destroy them—shape lives

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BODY OF WATER (Antonia & Artists): 2015 Fringe review 22

This hour-long dance work explores the movements of water, both inside the body and surrounding us.

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(SOME) LOVE AND (SOME) INFORMATION (Ira Brind School and Headlong Dance Theater): Fringe Review 9

Staging a Happening used to be straightforward. To jangle the audience out of the role of The Observer, you redefined art from what-I-the-Artist-do-up-here into what-is-happening-between-you-and-me. You and the audience would…

Photo credit Kate Raines.

COMMUNITAS (Almanac): The Contortionist and the Dancer

The action in COMMUNITAS could be best described as four people taking turns carrying one another around a space, then falling off, then swapping who carries whom. In a way, it is structured around a continual exploration of ways to make two or more people into one. Balance is challenged not by standing on a tight rope, but by joining two bodies at a single point and leaning precipitously apart; disassemble and repeat as necessary.

Photo by Yi Zhao

THE GARDEN (Nichole Canuso Dance Company): Offer your hand…

Six audience members isn’t an empty house; that’s the full load for Nichole Canuso Dance Company’s THE GARDEN. The basement below us is an expansive concrete stretch, a network of small rooms and squared pillars, and we’re sent down into a smallish room scattered with chairs. We’re invited to sit wherever we like.

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Modern dance DNA is Childs’ play

The retrospective of Judson Church choreographer-dancer Lucinda Childs’ SELECTED DANCES, 1963-78 last week was instructive and artistically purposeful. This work is still so vibrant in its exploratory nature that Childs’ innovations are part of the evolving dance stream.