Category Archives: Alvin Ailey

Artist Profile: Joffrey’s Michael Smith

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Smith as Drosselmeyer in Joffrey's "Nutcracker". Photo by Herbert Migdoll.

“I’m very thankful,” Michael Smith told me over cocktails this summer.  “The Joffrey chapter of my life has been going on for a while.  I’m lucky because I never really planned on it being this way.”  A Chicago native, he lived for a short time in Gary, Indiana with his teacher/social worker mother before moving back to the city.  That is where he got his first taste of dance at school.  “My grandma would say that I watched The Nutcracker in her living room and just dance around.  She’d say, ‘ok, you need to stop it before you knock something over!'”   Smith, now in his 11th season with the Joffrey Ballet, is finishing this year’s run of Nutcracker performances (only two matinees left!).  This season he’s dancing multiple parts:  a parent in the Party Scene, a soldier, the Mouse King, in snow scene, two parts in Waltz of the Flowers and Russian nougat and Dr. Drosselmeyer, his favorite part.  “There’s nothing like it.  It’s an acting role, but it really gives you a chance to tell the story with Clara and have a great time with the audience,” says Smith.  “You are the storyteller and you get to make all the magic happen.  It’s hard because if it’s not done well, the story is lost.”

Here’s my Q&A with a man that literally grew up within the Joffrey and who I’m happy to call friend.

So, what’s your story?

(Laughing) I’m a child of the 80’s.  Imagination was really pushed with me and my sister.  When I was going to be a freshman in high school, my Mom thought I should audition for this private school…Chicago Academy for the Arts.  I wanted to just go to school and be a teenager, but she convinced me.  I went to the audition and I got in…then I freaked out.  I had no idea what that really meant.  Most kids know that they want to dance and have been dancing since they were three.  For me, it was more like a hobby.  At school. I was taking three hours of ballet, jazz, modern classes and learning about the art form.  It wasn’t until my junior year that I thought maybe I should do this…maybe I should start taking this seriously.

How did you go from hobby to Joffrey?

The secretary of the school told me the Joffrey was looking for boys to fill in the background in The Nutcracker and I was like, “no, I don’t do ballet”…but she convinced me.  The school sent four of us over and we had to take class.  Mr. Arpino came and watched.  The asked me and a friend (David Gombert) to come back and take another class, then asked if we were interested in doing Nutcracker.  So for a few months, we would go to school in the morning, then head over to Joffrey to take company class at 10:00 am.  We were there all day rehearsing.  We did Nutcracker season and started getting to know a few people in the company that we weren’t scared of.  I was terrified of everyone, but Calvin (Kitten).  He’s the cutest little nugget ever.  I was a soldier.  I still am!  I did the same soldier spot for like 12 years. (laughing) That’s sad.  Now, I help teach it.  

Were you hooked?  Was Joffrey it for you?

My goal since my junior year was I want to go to New York.  I’m going to dance for Ailey.  Period – end of story.  My email address used to be Ailey2000!  Being at Joffrey…we were in this fantasy bubble where dance was our life for a few months, it was weird transitioning back into school life again.  Joffrey was starting a new apprentice program for six dancers and asked if we (Smith and Gombert) were interested.  I’d just started taking it seriously, meaning, ok I’m not going to skip my ballet class and go take another modern class.  I knew that I didn’t want to go to college.  I thought ‘you need something.  You can’t be poor!’  I agreed to it and signed the contract.  Literally a week later I got offered a contract with Hubbard Street 2 and had to turn it down.  I graduated in 200 and started the apprenticeship in the fall.

Over the years, how has the company changed?

Technically, the company has always had its technical people in it, but now it is really emphasized.  The company is a lot younger than it used to be.  There’s a huge age gap.  There’s a small group of us that are about to turn 30 and a few at 25, then the babies…19, 20, 21.  Over the years, the emphasis on rep has changed…the things being brought in and what is being demanded of us.  I kind of miss doing some of the historic works.  There’s nothing better than to be choreographed on, being that vehicle to produce art.  At the same time, there’s something very interesting and a lot of growth can happen by doing older, historic works.  I go to do the horse in ‘Parade’.  Who wants to do that?  The experience was amazing.  I miss doing Arpino stuff a little.  I guess that’s a change as well.  I got to dance while he was still alive in his company.  To have that greatly influenced how I viewed and still view dance and this company.  

Do you have a favorite Mr. A story or memory?

Some of my favorite memories are just random moments.  I miss seeing him sitting in front of the room or seeing him in the back giving you a thumbs up or an ‘ok’ sign.  As apprentices, we would get gifts from him every once in a while.  One of them was this huge, oversized knit scarf that,I assume, someone had made for him.  The first couple of years, I only wore it every once in a while, but now it is a saving grace come wintertime.  I need that big, chunky scarf.  I need Mr. A’s scarf.  Getting to dance for him at the opening of the new building (Joffrey Tower), that was a really special moment.  He’d always say, ‘This company is going to have a home.”  To see him walk into that building was such a special time.  His dream just came true.  That was pretty kick ass.

How have you changed?

I’m a lot calmer with age.  Outside of work, I try to be really chill.  In the studio, in my early 20’s, I tried to be a bad ass and talk back.  You’re still trying to figure out who you are at that age and my nature was to be more aggressive about it.  You have to find where you’re going to put your energy.  Life is too short.  I’m here to dance.  I want to be art.  I want to express myself through art.  I want to exchange art and discuss it with other people.  I’m the most senior boy in the company now and I know what it’s like to be that little punk kid in high school.  Now I have all this experience under my belt.  There is nothing more humbling than to have someone new in the company and to go and help them.  I learn things and help teach it to others.  I’ve been here a long time.  I’m dedicated to it.  It’s home to me.  

What have been some of your favorite pieces to perform?

(Jiri) Kylían’s ‘Return to a Strange Land’, hands down.  I got to do it with Maia (Wilkins) and Willy (Shives).   That was beyond a dream come true on so many levels.  Kylían is one of my all-time favorite choreographers.  It just feels good to do his movement.  Having the chance to dance with two people that are such great partners and to be the third in the trio…that’s a lot to live up to. That was a super highlight.  The Pilobulus piece ‘Untitled’, ‘Suite Saint Sans’.  ‘Inner Space’ was three dancers in a 4×4 Plexiglass box.  Loved it!  Everyone wants to go out and be the prince or the lead, but there is something to be gained from doing the more abstract stuff too.  Finding your own story in it or how you can get through this to make it entertaining and find growth within yourself.  You’ve never had to do some self-examination until you’ve been put in a 4×4 box with two other people for seven minutes!  Getting to do one of the stepsisters in ‘Cinderella’ with one of my best friends (Gombert).  We were playing ourselves pretty much only in women’s clothing.  I don’t know if anything that silly will enter my life again.  It was pretty fantastic.  And ‘Nutcracker’ is always something special.  I do love it.  It’s the one time of year where you are performing constantly.  It’s like, should I even take this make-up off? I’m going to be right back.

You also have talents in a vast range of hobbies:  photography, videography, choreography and teaching.  What are your goals?

To take whatever comes and see what happens.  When Jessica Lang came and set ‘Crossed’…that was a great experience.  Really inspiring.  You truly just have to be the vessel and let the art come through you.  She told me to never say no to anything.  Go do it and see what happens.  Try to make all these things happen and see what comes out of it.  It was a great piece of advice.  Not that you can’t say no, but if you can do it…why not?  My goal wold be to keep experiencing everything I can possibly experience.  If you allow yourself to be open to just experience it, you’ll learn a lot.  I’ve auditioned for Hubbard Street like five or six times now.  I love them.  I’d love to dance for Hubbard Street.  

Joffrey Dances for EMBARC

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Erica Lynette Edwards in "Strange Fuit". Photo by Sasha Fornari.

On Thursday, November 3rd, a group of Joffrey dancers performed in the black box studio theater at the Joffrey Tower to benefit local non-profit EMBARC.  A New Movement was an evening of in-house choreography, plus a duet from the Joffrey rep with a reception and silent auction following in an adjacent studio.  The benefit performance was delayed temporarily due to bad weather and to let everyone in the theater (it was full), but once things got started, it went swimmingly.  A portion of the front row was roped off for the guests of honor – three students from Harper High School that are part of the EMBARC program which empowers students from socially and economically isolated areas through mentoring and cultural interactions.  After a few words from co-founders Imran Khan (Executive Director) and January Miller (Program Manager), the show began.

New works created by Joffrey dancers Derrick Agnoletti, Shane Urton, Aaron Rogers and Michael Smith were shown along with a premiere from Joffrey Ballet Master Nicolas Blanc.  Agnoletti’s dramatic African-influenced Incantation started the show danced by students from the Strobel Step Up program.  If these kids were nervous dancing on a bill with professionals, it didn’t show.   Agnoletti’s other offering Strange Fruit: Solo of the Disinherited danced beautifully by Erica Lynette Edwards was one of the highlights of the night.  The long skirt and lyrical moves were Ailey-esque and her emotional intensity added a personal touch to the piece.  During a pause in the music, she let out an audible sigh/cry that had the audience rapt.  Fabrice Calmels and Victoria Jaiani danced a duet from Edwaard Liang’s Age of Innocence, a gorgeous work that was well worth the price of the $100 ticket to see it up close and personal.  What struck me most was that it was performed in this small studio theater as if it was on stage at the Auditorium Theatre.  To them, there was no difference – they gave it their all.    Another choreographic highlight was Michael Smith’s “_________” (and yes, I gave him crap about not having a title!).  Set to music by Arvo Pärt, the work for six dancers was earthy and beautiful inspired by a quote from the book of Revelations.  The dancers seemed most honest in pedestrian moves, particularly a recurring theme where they held a hand to the forehead of a fellow dancer following them on or off stage.  The dancers took clothes on and off on stage with all but one ended up “naked”, which warranted a joke from one of the EMBARC students after the show.  Shout outs to Elizabeth Hansen (strong and clean) and Aaron Rogers (I could watch him do anything – he’s like butter!).

Anastacia Holden & Derrick Agnoletti in "Purple People". Photo by Sasha Fornari.

After the performance, Miller told the audience how you can see Willis Tower from Harper High School, but most of the students had never been downtown, had never been out of their neighborhood and after starting with EMBARC programming their attendance and grades improved.  The three students in attendance came up to speak.  Terence, once overcoming his nerves, was eloquent telling how “you can learn things you’ve never done before” and declaring that most kids think Batman and Superman are super heroes, but his super heroes are Mrs. Miller and Mr. Khan.

 

Preview: River North Opens Fall Season

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Jessica Wolfrum & Michael Gross in "Al Sur del Sur". Photo by Sandro.

This weekend at the Harris Theater, River North Dance Chicago (RNDC) opens it’s fall season. Just off a successful international tour (US, Korea, Germany, Switzerland), RNDC is warmed up, employing five new dancers and ready to take the stage with a mixed rep that is sure to dazzle. Signature group piece by Sherry Zunker, Evolution of a Dream (2009), is joined by last season hits Al Sur Del Sur choreographed by Sabrina and Rubin Veliz and Artistic Director Frank Chavez’s jazz tribute Simply Miles, Simply Us. Charles Moulton’s postmodern Nine Person Precision Ball Passing (1980), which the company performed over the summer during the Chicago Dancing Festival (and shall heretofore be known as “the ball piece”), makes it’s Harris stage debut. Add in an intense solo by Robert Battle from his work Train (2008) and the first duet Chavez every choreographed in 1994, Fixé, and you have the makings for a fantastic and entertaining evening of dance. But it is the company premiere of Daniel Ezralow’s SUPER STRAIGHT is coming down that is getting all the buzz – and rightly so.

Originally commissioned by Hubbard Street Dance Chicago (HSDC) founder Lou Conte in 1989, SUPER STRAIGHT was a cutting-edge, athletic, dynamic piece that helped change the trajectory of the company from a strong, stellar troupe with a jazz/Broadway-based rep to one of the pioneers of contemporary dance. Ezralow, an emerging choreographer at the time, took inspiration from a book of black and white photographs by Robert Longo titled Men in the Cities and set it to an original score by Dutch composer Thom Willems. What came out was a quirky, desperate, intriguing, hyper-physical, 15-minute dance that was like nothing the audience had seen before. Revolutionary seems trite, but it was. Five dancers dressed in black and white appear in what look like plastic garment bags hanging from the ceiling. That image, along with the darkly eerie, industrial score, set the mood for a wonderful and strange adventure. The original cast of Chavez, Sandi Cooksey, Ron De Jesús, Alberto Arias and Lynn Shepard brought a fierce energy to their talented technical skills and took the stage by storm. I saw it on tour that season and it blew me away! (It was one of the reasons I wanted to move to Chicago and why I’m a huge HSDC fan.) I am so completely STOKED that RNDC is reviving it this weekend. I spoke with Chavez by phone earlier this week about their upcoming program.

You’ve set quite an eclectic program…Miles, Balls, Tango…

This is our “Tour de Force” program (also the title of the Thursday night gala). To be able to go from an authentic Argentinian tango to “SUPER STRAIGHT” with a contemporary edge and then go to Miles Davis, as jazzy as you can get…it shows so many different facets of the company and that we can do all of those things really well.

Jessica Wolfrum in Ezralow's "SUPER STRAIGHT is coming down". Photo by Jenifer Girard.

I’m going to cut to the chase. I really want to focus on SUPER STRAIGHT because it is my favorite piece ever! I love it, I love it, I love it! I always wondered when/if Hubbard would bring it back.

(Laughing) We feel the same way. It’s my favorite Daniel Ezralow piece. Not just because I had the great opportunity to perform it, but I’ve been thinking about it for quite a while. I’m always concerned with something that was related to HSDC, that enough time has gone by…we’re careful with all that. We thought it was such a good fit and it’s such a good piece that it just made sense. As you say, it’s my favorite piece of Danny’s and it’s been sitting on a shelf for a long time. It’s so perfect for us. I honestly didn’t think I’d see HSDC do it again. It just isn’t them any more. I felt truly it was more appropriate for us these days, so I went for it.

Are there things he told you, that maybe the audience doesn’t know, that you get to pass down now that you’re resetting it?

As I did it, I brought Sandi and Berto in to help with rehearsal and some tidbits here and there. It was really based on a book of photographs by Robert Longo. The costumes, the look of the piece…everything came from this book. It was very interesting. He took a bunch of pictures of men and women in cityscapes. The idea behind it was that they were having things thrown at them and they were dodging. They were all sort of action/motion shots, but very quirky. They were pedestrians. There were a lot of images that ended up being translated off the page and into the piece. That was the initial jist of it. I’ve described it as sort of an urban meltdown. It’s like these people have been dropped down from some other space. The bags…do you remember? These big huge ice cubes that they melt out of. I remember Danny saying things like, “Your first step out of that bag is like you’re stepping on to black ice.” You can’t see it. You don’t know if it’s going to hold you. There’s so much uncertainty in the piece, which created a great deal of tension. There was a lot of tension in the creative process too. Danny likes to stir the pit a little bit. He does a lot of improv and then puts the piece together. That’s his process. He feeds off of whatever is happening. If somebody is pissed off and walking around a corner, he’ll use that in the piece. He really wanted to shock the audience. I remember this original composition, he wanted that first note to come in really strong and jolt the audience. You’d hear a collective “ah” – it scared them. It transcends you to another place and you’re not sure what’s going on. He said that it was very abstract for him. There was no real meaning behind it for him. There was no story behind it. He wanted to create this tense atmosphere that kept people on the edge of their seats and uncertain. It does that well. So many people wrote it was about AIDS, disease, a takeover, aliens…it had a million different interpretations of what it was. Danny likes to do that. He likes to leave it up to the audience, however they see it, whatever they’re feeling…that was a big part of it.

I definitely got an alien vibe and just kept wonder what was up with the bags?

He likes to make people question a lot. Are they aliens? Are they just arriving here? Were they quarantined? All these speculations came about where these bags came from and then they just float off the stage. These five people are just dropped off somewhere. They have no idea where they are. You can say they’re from a different planet. They don’t even know why they’re there, but they need to go explore. If they are to go on in any way, they need to get out of those bags and find out where they are. It’s a bit of a discovery. The silent section in the middle was very interesting. There are two musical cues in the musical section and other than that it was timing and breath and feeling each other, commanding and finding the silence and doing something with it and translating that into a very tense atmosphere. Again, the uncertainty is what creates this tension. Initially the piece wasn’t counted at all. We just followed each other. For dancers…everybody wants to know what they’re doing at every moment. That was a really interesting part about the piece. I think it keeps it really interesting and relevant. There’s nothing to me that’s dated to me about the piece. It’s still so relevant in so many ways.

The silent section, the improv and keeping it real on stage…was that a new way of working for you guys back then? Or had you already been through that type of process before?

No. I think it was new for a lot of us. Danny was just starting out as a choreographer at that time, aside from what he did for his own company. I think for us, and for that time at HSDC, it was pretty new. It was fantastic. What came out of that process was pretty special. Sometimes it all just works. I think “SUPER STRAIGHT” is a great example of when everything really comes together.

River North Dance Chicago, Nov 4&5 at 8pm

Tickets: $30-$75, Harris Theater, 205 E. Randolph, 312.334.7777

Happy Halloween!

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RB as the Evil Queen in "Snow White".

Dance this weekend:  Check out Lucky Plush Productions at the MCA tonight or Saturday, Could Gate Dance Theatre at the Harris this weekend, Synapse Arts tonight at Holstein Park or Ailey II tonight at Governors State University.  I’m going to Cloud Gate tonight and  the Zombie Revolution at House of Blues tomorrow.  Merde to my zombie dancers!  Have a fun and safe weekend!