You don’t have to wait until after Thanksgiving — and the return of Alvin Ailey American Dance Theater — to get your fill of full-throttle performing: Philadanco’s back in town.
Founded in 1970, the Philadelphia troupe has a similar makeup to its big brother — strong, predominantly African-American dancers — and they share some repertory.
One of the best in common is George Faison’s “Suite Otis,” made back in 1971. Faison, the Tony-winning choreographer of “The Wiz,” took five couples and six songs by Otis Redding for a neatly constructed piece where the only thing missing is, alas, “(Sittin’ on) The Dock of the Bay.”
Instead, there’s a good-natured battle of the sexes. A couple argues in finger snaps to “My Lover’s Prayer.” The men show off to “I Can’t Turn You Loose,” their hips swiveling and their legs rocketing to the sky. Then it’s the women’s turn to strut, swishing their bright pink skirts in Redding’s version of the Rolling Stones’ “Satisfaction.”
After that, the world premiere of “Moan” — by Ailey dancer Matthew Rushing — seemed too much of the same thing. This time the songs come from the velvet-throated chanteuse Nina Simone.
But the mood is darker here. To Simone’s low murmurs in “Don’t Explain,” a woman wraps herself around her man and gets dropped to the floor — only to crawl back up again. “Don’t Let Me Be Misunderstood” has dancers kicking back and forth in frantic solos.
“Moan” isn’t as tight as “Suite Otis.” There’s a Simone figure in a brilliantly colored African dress in the opening number, but she leaves, only to reappear seconds before the end.
But choreography isn’t the real story at Philadanco, and you can tell that by the credits. Rather than listing company members as “dancers” the roster says “Performances by” — and it’s all about the performers.
Ronald K. Brown’s “Gatekeepers” puts a man and five women dancing in a grid of light to a driving remixed beat. Though the program says the dancers symbolize “soldiers walking toward heaven,” there’s less plot, more mood and the steps are an excuse to cut loose, ecstatically.
Everyone adds individual touches — a unique walk, head roll or timing, and the audience shouts back when they see something they like. It’s no surprise that some of these dancers got their start in liturgical performance: Everyone gets their moment to be possessed by the spirit.