PHILADANCO!

My lasting impression of Philadanco!’s end-of-July performances at the Joyce Theater: what can’t these dancers do? Whether presenting a world premiere, or pulling from the company’s repertory archive, technical range and expressive capability is not somewhere a ‘Danco’ dancer falters. Thang Dao’s Without Witness opened, with company members suited in vibrant hues of blue and green. Melodic solos broke away from grand unison movements, highlighted through the tightness and precision of the group. Smaller, repetitive redirections contrasted the estranged soloists or duets, indulging in limby extensions and elastic, woven partnering.

Tommie-Waheed Evans, Philadanco! alum, in collaboration with the dancers, presented Promise Me You Won’t Call. The rich emotional depth was not only attributed to the dancers and their silky movement quality, but to Nick Kolin, resident lighting designer of the company. A beam of a descending light broke into pieces, at times spotlights, trickling back and forth along the stage. The light’s choreography refocused the multitude of stories taking place. Pointed diagonally outward at times, it was as if the athletic movement traveling through the light had passed into a portal.

Equally as emotionally weighted, Enemy Behind the Gates, Christopher Huggins’ 2002 work brought back to life for this performance, truly emphasized that Philadanco! not only wows with storytelling and passion, but with truly impressive technical ability. Impossibly quick and energetically demanding to even watch, Huggins’ explosive choreography and Philadanco!’s legacy of hiring and uplifting incredible dancers transcended decades. If someone said that Huggins created this work this year, it would be believed. The grit and ingenuity of 2002 showed up at the Joyce in 2026.

The evening’s premier, Rennie Harris’ To Philly, Love, Rennie displayed an homage to The company and Harris’ transformative and resilient home: in Philadelphia. Set to Darrin Ross’ mastering of the Sounds of Philadelphia — The O’Jays and Harold Melvin & the Blue Notes — Harris and the company joined forces in articulating just how far they transcended genre and mood.

This World Premiere was one of those moments where time stood still. As soon as the first few dancers took the stage in sneakers and streetwear, they were undeniably ignited by the pulse of the music. The spirited heart of Philly, where diverse and electric social dance culture thrives, was embodied through Harris’ movement. Harris founded the country’s first hip-hop dance touring company, and brought that perspective and movement language to one of the nation’s most renowned modern dance
companies.

It was laid out plain: Philadanco! has as much poise as they do swagger and groove. Through slow-motion and riffs, the dancers blended Ross’ scoring into their bodies; the rhythms and energy of Harris’ history with Philly echoing through blurred lines of modern and hip hop dance. Not one or the other, but an amalgamation of the richness, akin to Philadelphia’s essence. Whatever the viewer’s expectations of the company once were, certainly evaporated.

EYE ON THE ARTS, NY — Emma Edy Morris

• Photos by Steven Pisano