Performance Garage to Remain Open

Anna Drozdowski

The Performance Garage, home to Jeanne Ruddy’s dance company for more than a decade and a space used by many in the Philly dance community for rehearsals, classes and performances, will remain open for the ’12-’13 season as a rental venue.   

There is “plenty of availability,” according to Rentals Coordinator Judy Williams, who indicated that the late decision to remain open (made earlier this month) has resulted in a virtually clean calendar for the coming year for both the studio and theater.

The Brandywine Street building, renovated in 2002, is owned by Victor Keen, a long time supporter of JRD and husband to Ruddy–both of whom have been engaged in sustainability and succession planning for the building over the past three years.  

Further details about the separation of the two entities and launch of the independent Performance Garage will be made public on September 4th, 2012. 

For more information about the future of the facility contact Rachael Glashan: rglashan@ruddydance.org.  

To inquire about availability: rentals@ruddydanc.org

http://www.ruddydance.org/garage/

Share this article

Anna Drozdowski

Through Ladybird, Anna Drozdowski embarks on international projects in organizational development, mutual understanding and research–most often in dance. She is a staff writer, editor, and co-founder of thINKingDANCE.

PARTNER CONTENT

Keep Reading

The Four Mothers of Miki Orihara, or Learning Dalcroze’s 20 Gestures with my Daughter

Caedra Scott-Flaherty

Miki Orihara explores early modern dance and mothers in her newest work.

Around 20 workshop participants pose in front of an abstract oil painting in a bright gallery. They are all in different positions inspired by the artwork. Many stretch their arms out and up as if reaching. Some arch their backs or bend forward.
Photo: Chika Kobari, courtesy of KinoSaito

Dance Leadership by the Numbers

Jennifer Passios

A Conversation with Elizabeth “Liza” Yntema of Dance Data Project®

At the RISE 2025 Summit held at the New York Library for the Performing Arts, panelists for a discussion entitled “Data is Revolutionary” gather in black office chairs with silver legs in front of a large projector screen that reads “Dance Data Project, Harriet Tubman Effect Institute, & Women Count” in a pastel blue above the title “Data is Revolutionary” in a light yellow. Six circles containing the headshots of the panelists dot the rest of the projection. Amidst the other seated speakers, Nancy Owen stands holding a microphone in her right hand. She leans forward toward the audience, eyes alight, mouth open in speech that slips through an excited smile. In the lower left corner of the frame, a bald man in a crisp blue suit brings the crook of his thumb and second finger to his chin at stage right. He looks out toward the audience with his chair angled away from the six panelists.
Photo: Victoria Detres