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“Tommie-Waheed Evans’ “Coup de Grace” (the title suggests the death blow given to put a severely wounded human or animal out of its misery) is a profoundly raw, powerful, ritualistic dance, set to an original score by Cory Neale that begins with a blast of techno-enhanced sound. The apocalyptic mood, captured in Evans’ percussive, hard-driving movement, is further conjured by Claire Chrzan’s darkly shadowed lighting, a drifting fog, and the gold and purple-skirted costumes of the dancers. Bodies fall to the ground, the men engage in martial arts moves, duets are acrobatic in this thrilling, superbly performed piece.” HEDY WEISS: THEATER REVIEWS



Tommie-Waheed Evans’s Coup de Grâce is futuristically dynamic and frantically beautiful. Flashing lights, frenzied pas de deux, and drums bring a sense of doom. The ominous atmosphere is ultimately overcome by the dancers uniting together. Stephanie Racine





“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

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