REVIEWS
“In Between the Passing painted a picture in movement of time and mortality. In the program, he cited the space between the physically present and the timeless world beyond the physical realm. Evans also said he was inspired by the work of digital artist Bill Viola… this was an “oh, yes” moment. The choreography didn’t mimic that art but seemed to evolve from it.”
Camille Bacon-Smith
“…the world premiere of Tommie-Waheed Evans’ “In Between the Passing…” Set to the somber music of Gorecki’s Symphony No. 3, Op.36 (Symphony of Sorrowful Songs), this was obviously a dramatic change of pace. The piece was moodier and more serious, with the dancers clad in the more modern dance-ish dark pants and tank tops. The choreography, while certainly reflective of Gorecki’s somber stately music, had its own purposeful energy. Presented in duets and other combinations, the company of dancers effectively expressed the emotions derived from separation and connection, mortality and survival, with very much a sense of taking a tour through Inferno or Purgatory. I don’t often like to make major pronouncements, but I came away feeling I had seen a major dramatic work.”
Gary L. Day
“Evan’s performance is challenging and playful reflecting his core creative values. It engages and challenges those involved, both on the stage and sitting in the crowd. It is a work that deemphasizes a linear narrative in favor of rhyming, echoing, and looping movements which elicit an emotional and empathetic response to how it feels to be a fellow human.”
Evan Fugazzi
“Tommie-Waheed Evans’ ’Suite Mercy’ his version of Carl Orff’s ’Carmina Burana‘ that just grabs you by the throat and doesn’t let go. Evans’ unlocks the rhythmic pulse of ‘O Fortuna’ and his dancers just keep upping the ante with breakneck velocity, and arresting ensemble technique. Most dynamically, Evans laces in Africanist dance idioms in transitional phrases that burned the floor and tore this house down.”
Lewis J. Whittington
“Evans’ vocabulary is deeply rooted in a classical ballet aesthetic blended with modern sensibilities and jazz influences.”
Gregory King- The Dance Journal
Verb reprised their electrifying dance "Dark Matter" from last year. Commissioned by Verb from Philadelphia choreographer Tommie-Waheed Evans, with a pounding score of industrial electronica by Philly composer Greg Smith, the work is a nonstop tour-de-force for nine dancers, who move with great athleticism and complexity in what could be described as a radical urban style.”
MARK SATOLA- The Plain Dealer
“Evans' narrative skill captivated the classical music audience.”
Explore Dance
“Evans' choreography was just as inventive in a series of duets as it was in full-company configurations. Of note was a hypnotic duet by Colin Heininger and Dara Stevens-Meredith danced to Stevie Nicks' song "Edge Of Seventeen" and Eleone Dance Theatre dancers Anthony Rhodes and Kareem Marsh in a central duet packed with intricate lift patterns and sensual bodyscapes.”
Explore Dance
“dynamic athletic choreography…”
Roy Berko
"Taken from a section of a one-act ballet, titled "Flood Light from Heaven, Dark Place beneath," Tommie-Waheed Evans' dancers perform a beautiful, but tortured ballet expressing the anguish of indecision. The strength of the dancers' bodies juxtaposed against the weakness of inner torment is beautifully expressed as the dancers move toward redemption and release in an athletic piece accompanied by a soaring musical prayer."
Lindsay Warner
"The Bulletin"
"The program came to a fitting climax with "Flood Light from Heaven, Dark Place Beneath," a dynamic new work by Philadanco's Tommie-Waheed Evans………. This intricate and introspective piece was a study in beautiful bodies, impeccable technique, control and strength… The trio embraced Evans' creative and challenging choreography while conveying his emotional message."
Kimberly C. Roberts
"The Philadelphia Tribune"
"Another audience pleaser was the well performed and conceived ‘AMBIGUOUS DRIVES’ in its world premiere. Choreographed creatively by Tommie-Waheed Evans, to the music of Greg Smith, the whirling dervish of movements fit the erratic sounds."
Roy Berko
"The night’s world premiere was Tommie-Waheed Evans’ “Ambiguous Drives,” which finds an ensemble in black attire engaged in combustible contemporary interplay. Evans, a member of the Philadelphia dance company Philadanco, has devised a series of sleek encounters that brim with contrasting patterns and connections. The energy level is high, with suave solos morphing into vivid group intertwinings. Set to music by Greg Smith, Evans’ choreography places myriad challenges on the Verb dancers that they boldly met"
Donald Rosenberg
The Plain Dealer
"Evans a promising emerging choreographer."
Elsa Johnson
"The enthusiasm of the IABD showcase audiences might bowl you over. Following Tommie Waheed-Evans' Suite Misery for Eleone Dance Theatre on the "Meet the Philadelphians" program Thursday night, the audience rose as one body, screaming with pleasure. How else to respond to a thumping, driving opus set to Orff's Carmina Burana with 12 gutsy dancers in sultry red."
Lisa Kraus
The Philadelphia Inquirer
Camille Bacon-Smith
“…the world premiere of Tommie-Waheed Evans’ “In Between the Passing…” Set to the somber music of Gorecki’s Symphony No. 3, Op.36 (Symphony of Sorrowful Songs), this was obviously a dramatic change of pace. The piece was moodier and more serious, with the dancers clad in the more modern dance-ish dark pants and tank tops. The choreography, while certainly reflective of Gorecki’s somber stately music, had its own purposeful energy. Presented in duets and other combinations, the company of dancers effectively expressed the emotions derived from separation and connection, mortality and survival, with very much a sense of taking a tour through Inferno or Purgatory. I don’t often like to make major pronouncements, but I came away feeling I had seen a major dramatic work.”
Gary L. Day
“Evan’s performance is challenging and playful reflecting his core creative values. It engages and challenges those involved, both on the stage and sitting in the crowd. It is a work that deemphasizes a linear narrative in favor of rhyming, echoing, and looping movements which elicit an emotional and empathetic response to how it feels to be a fellow human.”
Evan Fugazzi
“Tommie-Waheed Evans’ ’Suite Mercy’ his version of Carl Orff’s ’Carmina Burana‘ that just grabs you by the throat and doesn’t let go. Evans’ unlocks the rhythmic pulse of ‘O Fortuna’ and his dancers just keep upping the ante with breakneck velocity, and arresting ensemble technique. Most dynamically, Evans laces in Africanist dance idioms in transitional phrases that burned the floor and tore this house down.”
Lewis J. Whittington
“Evans’ vocabulary is deeply rooted in a classical ballet aesthetic blended with modern sensibilities and jazz influences.”
Gregory King- The Dance Journal
Verb reprised their electrifying dance "Dark Matter" from last year. Commissioned by Verb from Philadelphia choreographer Tommie-Waheed Evans, with a pounding score of industrial electronica by Philly composer Greg Smith, the work is a nonstop tour-de-force for nine dancers, who move with great athleticism and complexity in what could be described as a radical urban style.”
MARK SATOLA- The Plain Dealer
“Evans' narrative skill captivated the classical music audience.”
Explore Dance
“Evans' choreography was just as inventive in a series of duets as it was in full-company configurations. Of note was a hypnotic duet by Colin Heininger and Dara Stevens-Meredith danced to Stevie Nicks' song "Edge Of Seventeen" and Eleone Dance Theatre dancers Anthony Rhodes and Kareem Marsh in a central duet packed with intricate lift patterns and sensual bodyscapes.”
Explore Dance
“dynamic athletic choreography…”
Roy Berko
"Taken from a section of a one-act ballet, titled "Flood Light from Heaven, Dark Place beneath," Tommie-Waheed Evans' dancers perform a beautiful, but tortured ballet expressing the anguish of indecision. The strength of the dancers' bodies juxtaposed against the weakness of inner torment is beautifully expressed as the dancers move toward redemption and release in an athletic piece accompanied by a soaring musical prayer."
Lindsay Warner
"The Bulletin"
"The program came to a fitting climax with "Flood Light from Heaven, Dark Place Beneath," a dynamic new work by Philadanco's Tommie-Waheed Evans………. This intricate and introspective piece was a study in beautiful bodies, impeccable technique, control and strength… The trio embraced Evans' creative and challenging choreography while conveying his emotional message."
Kimberly C. Roberts
"The Philadelphia Tribune"
"Another audience pleaser was the well performed and conceived ‘AMBIGUOUS DRIVES’ in its world premiere. Choreographed creatively by Tommie-Waheed Evans, to the music of Greg Smith, the whirling dervish of movements fit the erratic sounds."
Roy Berko
"The night’s world premiere was Tommie-Waheed Evans’ “Ambiguous Drives,” which finds an ensemble in black attire engaged in combustible contemporary interplay. Evans, a member of the Philadelphia dance company Philadanco, has devised a series of sleek encounters that brim with contrasting patterns and connections. The energy level is high, with suave solos morphing into vivid group intertwinings. Set to music by Greg Smith, Evans’ choreography places myriad challenges on the Verb dancers that they boldly met"
Donald Rosenberg
The Plain Dealer
"Evans a promising emerging choreographer."
Elsa Johnson
"The enthusiasm of the IABD showcase audiences might bowl you over. Following Tommie Waheed-Evans' Suite Misery for Eleone Dance Theatre on the "Meet the Philadelphians" program Thursday night, the audience rose as one body, screaming with pleasure. How else to respond to a thumping, driving opus set to Orff's Carmina Burana with 12 gutsy dancers in sultry red."
Lisa Kraus
The Philadelphia Inquirer