September 25–October 2, 1997

dance

'Danco on 'Danco

Philadelphia Arts Bank, Sept. 12 & 13

Joan Myers Brown introduced the Sept. 13 performance of 'Danco on 'Danco at the Arts Bank by announcing that if anyone had come expecting to see Philadanco, sorry, wrong place. Philadanco, of course, is the acclaimed dance company Brown founded nearly three decades ago and for which she remains executive director and artistic inspiration. 'Danco on 'Danco highlights the fruits of a special summer training session sponsored by Philadanco. The program allows company members the chance to choreograph on themselves and on a group of budding dancers. After six weeks they critique each other's work and select the best of the batch for this presentation.

While 'Danco on 'Danco lacks the polish and perfection of Philadanco, it rides on its own reputation. People appreciate this annual show for what it represents—an opportunity to catch the efforts of emerging artists.

There is a certain energy that comes with this territory. A particular air of anticipation. An edge, even. It's hard to put into words, but is tangible nonetheless.

The evening offered an eclectic slate of dance. A few pieces, Ruth, choreographed by Donald T. Lunsford, II, and Shenandoah, by Hope Boykin, owed allegiance to Alvin Ailey. Lunsford's Arena, where six dancers engaged in a dance cutting contest, was imminently engaging. Snippets of humor made it all the more entertaining. Kevin Thomas Malone's theatrical Brother to Brother, with spoken text, presented a powerful affirmation of the undying spirit of the African-American male.

The choreography proved a mixed bag. Demonic Mistresses-Part #1 was a highlight. Choreographed by William N. Isaac, its program note said, "This is not to glorify evil, only to acknowledge that it is there." Maybe so. But as envisioned by Isaac, evil sure as heck sizzles. Performed by Hope Boykin, Tracy Vogt, Candace Whitaker and Brandon Ellis, to the trance-like music of Dead Can Dance, Demonic Mistresses was tense, taut and sexually charged. The stage was lit red. Dancers' legs opened, then cut through the air like scissors. The women strutted with confidence. They teased Ellis into their lair. He responded by making his figure long, stretching his legs wide, holding one up high in the air, to form a straight line with this body. Some in the audience yowled at this. Rightly so.

Sagan's Song, the program's finale, was also provocative. Choreographed by Kim Bears (a premier Philadanco dancer and presently its assistant artistic director), it's done to Samuel Barber's "Adagio for Strings." Featuring the talented cast of Boykin, Vogt, Whitaker, Karen More, Desiree Lynn Piña and Hollie Wright, it carried a reverent, mournful tone. The choreography, based on modern ballet moves, was largely slow-moving and graceful. Dancers undulated their arms like soaring birds and dropped to the ground, connecting with earth. The piece was stirring and beautifully executed. My only complaint was that Sagan's Song closed the program on a solemn note, causing the crowd to exit quietly. There was little post-show buzz. This one surely deserved as much.

Then again, everyone might have just been plain pooped out. The program, adding up to 11 pieces, plus intermission, proved a test of endurance for showgoers. The dancers held up fine.

Standout performers, besides those already noted, include Aisha Benjamin, Yoshimi Sato and Rashan Jackson. Assuming 'Danco on 'Danco is a feeding ground for future Philadanco ensembles, let's just say the company's future is secure.

-Deni Kasrel