Author: Ellen Dunkel

  • 🚯 Mapping illegal dumps | Morning Newsletter

    Welcome to Friday!

    We’ve all heard heaps about Trashadelphia. A multigroup initiative is pinning its cleanup efforts on first mapping illegal dumping throughout the city.

    Police Commissioner Kevin Bethel wants the department to work on the less-glamorous side of policing — like customer service.

    Plus, surely not everyone was pro-Revolution. What happened to Philadelphians who supported the British?

    — Ellen Dunkel (morningnewsletter@inquirer.com)

    If someone forwarded you this email, sign up for free here.

    Cleaning up Philly by mapping illegal dumps

    About 75 Philadelphia residents representing neighborhood groups and nonprofits gathered Thursday to map by hand illegal legacy dumps scattered throughout the city.

    The Clean Philadelphia NOW initiative, made up of multiple neighborhood organizations and nonprofits, wants to tackle the dump sites comprehensively and coordinate with city officials, the residents said.

    Legacy dumps are one of the biggest issues impacting the quality of life in Philadelphia, they said, and they want to find solutions.

    While the city has heavily invested in abatement, that falls short of addressing the root causes of the persistent “clean-dump-clean cycle,” said Shari Hersh, a codirector of Trash Academy, one of the groups collaborating with Clean Philadelphia NOW.

    Reporter Frank Kummer explains how they plan to do it.

    Treating the police department like a business

    When someone reports a minor crime, it can take hours for police to respond — if they do at all. Much of their paperwork is done by hand.

    To Bethel, those details capture something bigger: a department in need of a systems upgrade.

    In a new five-year strategic plan released Thursday, Bethel chose to treat the police department and its nearly $900 million budget like a business in need of modernizing. He plans to put an eye toward better “customer service” for residents.

    Reporter Ellie Rushing explains how Bethel plans to do it.

    What you should know today

    Plus: What happened to Philadelphians who supported the British in the American Revolution?

    Welcome back to Curious Philly Friday. We’ll feature both new and timeless stories from our forum for readers to ask about the city’s quirks.

    This week, we’re resurfacing an explainer on the Philly people who were loyal to the British crown in Revolutionary days.

    It might seem like Philly was always pro-Revolutionary, but “tons of people were against the Revolution, very lukewarm, or their opinions changed,” said Tyler Putman, senior manager of gallery interpretation at the Museum of the American Revolution.

    Ultimately you were either all in or you were out. Here’s the full story.

    Have your own burning question about Philadelphia, its local oddities, or how the region works? Submit it here and you might find the answer featured in this space.

    🧠 Trivia time

    Nike calls its new Air Force 1 shoes “Horse of a Different Color.” The company says they contain pony hair. We suspect someone else’s fur. Which Philly mascot do they resemble?

    A) Swoop

    B) Gritty

    C) Philly Elmo

    D) Philly Phanatic

    Think you know? Test your local news know-how and check your answer in our weekly quiz.

    What we’re …

    🍷 Drinking: Garnacha, a wine made from grapes native to Spain, although many think they’re French.

    🤔 Wondering: Is buying a home still the way to wealth? Some young Americans aren’t sure.

    🏀 Getting ready to watch: This weekend’s WNBA All-Star Game, with North Philly’s Kahleah Copper, who is a last-minute replacement. It’ll be her fifth WNBA All-Star Game.

    🧩 Unscramble the anagram

    Hint: This delicious reason this month is Middle Child’s “Super Bowl.”

    HOME MOLTO RATIO

    Email us if you know the answer. We’ll select a reader at random to shout out here.

    Cheers to Paula N., who solved Thursday’s anagram: Baltimore. Southwest Airlines will offer the one-hour flight twice daily next year.

    Photo of the day

    Fresh graduate Simone Smith poses with a diploma after Thursday’s 2026 Summer Graduation Ceremony at the Met.Bastiaan Slabbers / For The Inquirer

    Nearly 400 Philadelphia high school students almost didn’t make it to the finish line. But they completed their last credits and crossed the stage in joy and celebration at the district’s summer graduation.

    Have a great day. Hope you’re looking forward to some fun weekend plans.

    By submitting your written, visual, and/or audio contributions, you agree to The Inquirer’s Terms of Use, including the grant of rights in Section 10.

  • BalletX’s return to ‘The Little Prince’ is every bit as enchanting as before

    BalletX’s return to ‘The Little Prince’ is every bit as enchanting as before

    At 20, BalletX has developed into a contemporary company of strong dancers that consistently brings Philadelphia audiences something new. While most dance companies commission new work, BalletX leans heavily into the world premieres.

    This approach is largely a win for both the dancers and audiences. But when a standout work comes along, it can be a long wait before it returns.

    BalletX premiered Annabelle Lopez Ochoa’s The Little Prince in 2019 and brought it on tour, giving the company ample time to deepen its relationship with this delightful piece. But Wednesday’s opening night of the summer season at the Suzanne Roberts Theatre marked the first opportunity for Philly audiences to see it again in seven years.

    Nearly all of the dancers are new since 2016, and many of the costumes have been refreshed. Even so, assembling the finished product turned out to be a struggle. Three dancers were injured, artistic and executive director Christine Cox said in a pre-show introduction.

    The finished product was as charming as it was when it premiered.

    The story on stage is clear, though reading the novella — or at least the program synopsis — beforehand adds helpful context. It is about a pilot who crashes his plane on an asteroid and meets a little prince who tells him a story about meeting wacky characters on various planets. The prince wants to get to earth to save his precious rose, but later discovers that she is not the only rose in the universe.

    BalletX dancers Eli Alford, left, as the little prince, and Eileen Kim, as the geographer, in Annabelle Lopez Ochoa’s “The Little Prince.”Vikki Sloviter / BalletX

    Meanwhile, death — in the former of a snake — slithers through the story, tempting both characters at every turn.

    For both the little prince and the pilot, the story is a journey toward returning home, giving it echoes of The Wizard of Oz. It also recalls BalletX’s other signature evening-length work, company co-founder Matthew Neenan’s Sunset, o639 Hours, which likewise centers on a plane crash and features live music performed onstage.

    In 2019, the role of the snake was so alluringly danced by former BalletX dancer Stanley Glover that it was hard to imagine it performed by anyone else. But Lopez Ochoa designed the role to be performed alternatively by a man and a woman, and Wednesday night it was performed by Ashley Simpson.

    Simpson doesn’t have Glover’s impossibly long limbs, but her technique is stellar and she made the role her own. She commands the stage, her fellow dancers, composer Peter Salem (who performs live on stage), and even the audience. Simpson has excelled in many BalletX roles, but this performance showcases her unmistakeable star quality.

    Eli Alford is a charming little prince who takes us through the story (Nancy Meckler was the librettist and dramaturgist) and interacts with all the characters.

    Jonathan Montepara is another who got his moment in this unexpectedly smaller cast. Dancing the role of the pilot, he showed a range of emotion and movie-star good looks.

    BalletX dancer Jonathan Montepara as the pilot in Annabelle Lopez Ochoa’s “The Little Prince.”Vikki Sloviter / BalletX

    Though the story explores weighty themes of fear, despair and death, Lopez Ochoa balances them with a sense of wonder. Matt Saunders’ set — built from dozens of white boxes that suggest the limitless possibilities of a child’s imagination — and dancers darting across the stage carrying whimsical props keep the production visually playful.

    The Little Prince closes BalletX’s 20th anniversary season, which largely revisited works from the company’s repertory. The ballet runs through Sunday before returning to the archives.

    BalletX in “The Little Prince”

    Through Sunday, July 19. Suzanne Roberts Theatre. $50-$90, 215-225-5389 ext. 250 or boxoffice@balletx.org

  • At 16, a student from Philly’s Rock School has leapt into three career milestones this year

    At 16, a student from Philly’s Rock School has leapt into three career milestones this year

    At 15, Blake Metcalf had little left to prove.

    In February, the ballet student at Philly’s Rock School for Dance was one of only 38 boys (81 dancers altogether) from around the world selected to compete at the elite Prix de Lausanne in Switzerland.

    He didn’t win a prize at the Prix, but he made the final and got something else valuable: a scholarship to finish his studies at England’s prestigious Royal Ballet School.

    But that’s not all. Metcalf also qualified to compete in the Youth America Grand Prix Final in May in Houston.

    YAGP, a much bigger competition, attracts thousands of students from 50 countries competing in locations all over the world for months leading up to the final.

    Blake Metcalf stretches and watches his classmates at the Rock School for Dance.Tom Gralish / Staff Photographer

    “There was a moment prior to YAGP [Final] where Blake and I spoke,” said Rock president and director Peter Stark, who coached Metcalf, “and I said to him that he didn’t have to do YAGP as he had his plans secured for next year.”

    But Metcalf, who grew up in Lake Mary, Fla., and attended many competitions with his mother Sheri’s dance school, Xtreme Dance Studio, wanted to finish out that chapter.

    He wound up winning first place among the senior men, ages 15-20, with a variation from the first act of Swan Lake and a contemporary solo choreographed by Chase Peterson.

    But winning wasn’t in his sights going in.

    Blake Metcalf in class at the Rock School for Dance.Tom Gralish / Staff Photographer

    “I was like, ‘Let me just have fun, I don’t care what happens, just have a good week,’ ” said Metcalf, who recently turned 16. “And then I made it to the final round, I was like, ‘Awesome, that’s great, first-year senior.’”

    He was then invited to perform in the gala that closes out the competition, “and that was mind-blowing to me,” he said.

    “I was like, ‘Oh my gosh, I’m surrounded by so many people, like professionals I look up to, that I never thought I’d even see in person, dancing on the same stage.’”

    When the awards were announced, Metcalf was among the top 12 senior men. His name was the first announced, because he was the youngest, he assumed.

    But he had won first place while, he later added, dealing with a cyst in one hip and a muscle strain in the other.

    “I look to my right and it’s just these super tall men,” he said.

    The YAGP Final turned out well for Metcalf’s classmates as well. In addition to his win, students from the Rock received three second-place awards.

    “It was an extraordinary week for the Rock School,” Stark said. “For the second year in a row, we advanced more students to the final round than any other school in the world, and we ended up being the most awarded school at the competition.”

    Blake Metcalf in men’s class at the Rock School.Tom Gralish / Staff Photographer

    Metcalf, Stark said, “was in a different zone at the finals and it showed in his performances. “Some of the same judges [at the Prix and YAGP final] were especially impressed with his growth.”

    “Mr. Stark warmed me up every day for competition, and he took it very slow, didn’t force anything,” Metcalf said, explaining how he succeeded despite the injuries. “I kind of kept it calm and clean, and then saved myself for stage.”

    So what changed between February and May?

    “I think at Prix de Lausanne, I saw so much incredible talent,” Metcalf said. “I was really inspired, I subconsciously pushed myself more. I came back to Rock, and I was like, ‘alright, let’s do it, like let’s work,’ and I started improving more.”

    “Blake has an extraordinary instrument for dance physically with excellent proportion and line with great flexibility and strength,” Stark said. ”However, what really makes Blake special is both his intense focus in class coupled with heartfelt artistry on stage.”

    Next year in England, Metcalf expects to work on “my power, my bigger jumps. It’ll come with age,” he said, “it’ll come as I get more muscle. But yeah, I definitely need to work on my strength and my power.”

    Blake Metcalf leaves the studio after class at the Rock School.Tom Gralish / Staff Photographer

    Metcalf started dance when he was 5 or 6, after watching his sister, Ash, (now a New York-based actress) dance and compete with his mother’s school.

    “I really wanted to be a dancer, and my mom was like, ‘Alright, Blake, we’ll see, we’ll see.’”

    His mother, he said “tried to get me to go into sports because she wanted me to … go to a college, go the academic route. But I would beg my mom every day, because I looked up to my sister a lot as a kid. Ever since then, I just started getting more and more classes, and then I left all the other worlds behind.”

    He started with hip-hop. Classical dance didn’t come until he was about 11, when someone at his mom’s studio noticed that he had good feet for ballet.

    Soon enough, he’ll get that degree as well. The three-year program at the Royal Ballet School not only prepares its students to join a ballet company, but it also awards its students a bachelor’s at the end.

    Blake Metcalf leaves the Rock School after class.Tom Gralish / Staff Photographer

    Metcalf had never studied anywhere but his mom’s school when Stark invited him to train at the Rock School two summers ago. He enjoyed it so much that he begged to stay for the year, even though it meant leaving his family and his Boston terrier, Cannoli.

    It was Philly where he really began to shine, said Metcalf, who also enjoys drawing, crocheting, knitting, and reading.

    “Rock has really refined me as a dancer,” he said. “Rock has also helped me mentally, it has helped me mature, have my own mindset, not worry about what else is going on and just focus on myself.”

  • BalletX unveils its 2026-27 season, including a new ballet set in Prohibition-era Philadelphia

    BalletX unveils its 2026-27 season, including a new ballet set in Prohibition-era Philadelphia

    At 20, BalletX has matured into a contemporary ballet company with a national reputation. The company premiers numerous new works, regularly performs at the prestigious Vail Dance Festival, and has grown to 16 dancers.

    In 2024, one of its longtime supporters left the company $7.4 million.

    Wednesday’s announcement of its 2026-27 season is further evidence of BalletX’s growth and inheritance.

    The season will open Nov. 4 at the Suzanne Roberts Theatre with a new ballet by Loughlan Prior that delves into Prohibition-era Philadelphia. Prior, a New Zealand choreographer, created a work for BalletX’s virtual series during COVID-19, and, in 2024, choreographed Macaroni, a quirky piece somewhat set in Revolutionary War-era Philadelphia.

    The November program will include the return of 2023’s Switching the Groove by Amy Hall Garner and 2025’s In the Wake by Christian Denice.

    The spring series opening March 10, 2027, also at the Suzanne Roberts Theatre, will feature two world premieres. Noelle Kayser is making a work inspired by Colombian author Gabriel García Márquez, known for 100 Years of Solitude and Love in the Time of Cholera.

    Le Wang’s new piece will focus on whalefall, when a whale’s carcass falls to the ocean floor, creating a massive new food source for sea creatures. (Whalefall is also the title of an unrelated film to be released this year.)

    BalletX will also bring back Gregory Dawson‘s Sojourner for the spring.

    The program at the Highmark Mann Center opening May 21, 2027, looks especially exciting. It will be dedicated to the works of Justin Peck, the resident choreographer at New York City Ballet and three-time Tony Award winner for choreography.

    The Peck works will include Become a Mountain, which BalletX has performed in recent years. The company also will perform the Philadelphia premieres of Peck’s 2012 ballet In Creases and his 2018 work Hurry Up, We’re Dreaming.

    The summer season, opening July 7, 2027, at the Suzanne Roberts Theatre, will feature new works by South African choreographer and composer Mthuthuzeli November, Emmy-award winner choreographer Natasha Adorlee, and BalletX choreographic fellow Phoebe Jewitt.

    If some of these dates seem far off, BalletX still has one more program this season. The 2026 summer series opens July 15 with the return of Annabelle Lopez Ochoa’s whimsical 2019 ballet The Little Prince.