CDF13 Recap

Joffrey's Victoria Jaiani and Fabrice Calmels in
Tamako Miyazaki and Brooklyn Mack in
Giordano Dance Chicago in
Chicago Human Rhythm Project in
Brooklyn Mack and Tamako Miyazaki in
Hubbard Street Dance Chicago in
Joffrey Ballet in
Joffrey Ballet in
Joffrey Ballet in
Joffrey Ballet in
Joffrey Ballet in
Philadanco in
Hubbard Street's Johnny McMillan and Alice Klock in
Brian Brooks in
Chicago Human Rhythm Project in
 
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Last week Chicagoans were treated to five free dance concerts courtesy of the 2013 Chicago Dancing Festival (CDF). For the third year, I was one of CDF’s official bloggers covering the performances. Here’s a recap of the events as well as some awesome performance photos by the lovely Cheryl Mann*.

The Harris at 10! Anniversary Special at the Harris Theater for Music and Dance.

Solitaire – A Game of Dance at the Museum of Contemporary Art/MCA Stage.

Dancing in Chicago at the Auditorium Theatre of Roosevelt University.

Celebration of Dance at the Pritzker Pavilion in Millennium Park.

Huge THANKS to Lar Lubovitch, Jay Franke, David Herro, Evin Eubanks, The Silverman Group, venues, sponsors and all the artists who shared their beauty and talent. It was another great fest packed full of amazing performances. It is one of my favorite, most exciting, exhausting and inspiring week of the year. I’m looking forward to seeing what they do to top it next year.

*Photo credits: all photos by Cheryl Mann.

1. Joffrey Ballet’s Victoria Jaiani and Fabrice Calmels in “Son of Chamber Symphony.”

2. Tamako Miyazaki and Brooklyn Mack in “Diana and Actaeon” pas.

3. Giordano Dance Chicago’s Maeghan McHale and Martin Ortiz Tapia in “Two Become Three.”

4. Chicago Human Rhythm Project in “In the Beginning…”.

5. Tamako Miyazaki and Brooklyn Mack in “Diana and Actaeon” pas.

6. Hubbard Street Dance Chicago dancers Jesse Bechard, Johnny McMillan and David Schultz in “Casi-Casa”.

7. Joffrey Ballet in “Episode 31″.

8. Joffrey Ballet in “Interplay”.

9 & 10. Joffrey Ballet in “Episode 31″.

11. Joffrey Ballet dancers John Mark Giragosian and Anastacia Holden in “Tarantella”.

12. Philadanco in “Wake Up”.

13. Hubbard Street Dance Chicago dancers Johnny McMillan and Alice Klock in “Little mortal jump”.

14. Brian Brooks in “I’m Going to Explode”.

15. Chicago Human Rhythm Project in “In the Beginning…”.

CDF13: Solitaire – A Game of Dance (gala)

Alvin Ailey dancer Samuel Lee Roberts in "IN/SIDE". Photo by Paul Kolnik.

Last night the Chicago Dancing Festival (CDF) hosted a benefit gala at the Museum of Contemporary Art (MCA) and premiered the Solitaire – A Game of Dance performance that will be repeated this Friday at 6 and 8 pm. Guests mingled in the lobby with wine and passed hors d’oeuvres while perusing silent auction items. MCA Director of Performance Programs Peter Taub introduced CDF co-founders Jay Franke (in the cutest shorts suit!) and Lar Lubovitch, who in turn introduced our favorite local dance fan, Mayor Rahm Emanuel. After telling the dancers backstage to “break a leg” (Eek!), he proceeded to boast about “the largest free dance fest anywhere in the country”. He brought his family along including his parents who were celebrating their 58th wedding anniversary (aww). He talked about the 750 free events that have taken place in Chicago this summer and said that next year the hope is to take CDF around the city and “break out to all the neighborhoods”.

Franke graciously thanked everyone that helped to make CDF13 possible and Lubovitch, a man as eloquent with words as he is with choreography, gave us a history of the game solitaire (“the game of patience”) and a brief essay on how hard it is dancing and creating a solo. But he promised the performance would show just “how vast and varied the art of dancing alone is”. The show indeed did just that. A hand of cards projected on the back wall served as program notes and transitions. Before each solo a card was flipped with the picture and name of the artist about to perform.

First, the exquisite Victoria Jaiani of the Joffrey Ballet danced a breathtaking and heart-wrenching (yes, I cried) Dying Swan variation from 1905. She seemed to float across the stage in her entrance. From her delicate death, we jump to the dramatic, super strong solo In/Side (2008) performed by Alvin Ailey Dance Theatre‘s Samuel Lee Roberts. His sheer physicality was expertly matched by Robert Battle’s intense choreography. Ensemble Español‘s Julia Hinojosa danced a beautiful ode to Cuba in this flirtatious, percussive solo complete with a gorgeous long ruffled skirt and a large white fan. Ensueños de mi Caribe (2012), inspired by the city of Havana, showcases the traditions of flamenco. The petite Camille A. Brown commanded the stage in a powerful, puppet-like excerpt from her 2012 work Mr. Tol E. RAncE celebrating black performers and challenging stereotypes.

Natya Dance Theatre dancer Krithika Rajagopalan. Photo by Amitava Sarkar.

Things lightened up as Hubbard Street Dance Chicago dancers Johnny McMillan, David Schultz and Jonathan Fredrickson took the stage in Alejandro Cerrudo’s charming PACOPEPEPLUTO (2011), a fun, technically challenging and “cheeky” trio of solos set to Dean Martin songs. Krithika Rajagopalan of Natya Dance Theatre, wearing a stunning orange and red sari, was a study of intricate detail and expression in Sthithihi – In the Stillness (2013). The placement of each finger or the raising of an eyebrow telling an entire story. The performance went from stillness to the extreme with Brian Brooks’ frenetic 2007 solo I’m Going to Explode. Towards the end of the solo, he spirals down onto his knees leaving one arm extended up to the ceiling reminding me of the swan dying at the beginning of the show.

The evening ended with guests gathering in the upstairs galleries for drinks, dinner, dancing and a live auction. Once again, CDF did what it does best, which is bring a wide range of dance forms together on one stage performed by some of the best dancers around. You may not enjoy every style of dance you see here, but you can’t deny the talent, commitment and artistry involved.

CDF13: The Harris at 10! Anniversary Special

Tamako Miyazaki and Brooklyn Mack in "Diana and Actaeon pas". Photo by Sarah Weymar.

Opening night of the 7th annual Chicago Dancing Festival (CDF13) was in honor of the Harris Theatre‘s 10th anniversary – and what a celebration it was. A packed house was treated to a star-studded, eclectic evening of beautiful dancing. It is an amazing thing watching local audiences witness for FREE what I am humbly privileged to see all the time as a dance writer and from the reaction (thunderous applause, mini standing ovations and, what I can only call, whooping), they enjoyed it as much as I did.

Pieces are announced by a Let’s-get-ready-to-ruuuuuuuumble! voice over giving pertinent details of the upcoming work. The show started off with a bang – or stomp – with a CDF13 commissioned work by local artists Lane Alexander and Bril Barrett. Chicago Human Rhythm Project busted out some crazy mad beats in a showcase of a groovy, partially improvised master tap class. Shout out to the ladies Donnetta Jackson and Starinah (“Star”, yes she is) Dixon. The flaptastic opening was followed by Hubbard Street Dance Chicago performing Little Mortal Jump (2012) by their resident choreographer Alejandro Cerrudo. (If you’ve ever read my blog, you know I’m a huge fan of AC.) This fun, theatrical work never ceases to impress. Retirements and injuries updated the original casting and added new, interesting timing and phrasing choices. The slow-motion duet near the end by Ana Lopez and Jesse Bechard always gives me goosebumps. A woman sitting near me started a chorus of “Bravos”, while a number of people jumped to their feet with enthusiasm.

Washington Ballet dancer Brooklyn Mack and Tamako Miyazaki of the Columbia Classical Ballet and Dortmund Ballet stunned in the Diana and Actaeon pas de deux. I wasn’t familiar with this pas based on a greek myth where a goddess turns a man into a deer like a 1935 balletic version of Beauty and the Beast. The casting of Miyazaki (tiny, pale and petite) and Mack (tall, dark and massive) was perfect. Both were exceptional dancers showing off technical tricks in a classic forum. While Miyazaki breezed across the floor with fleet footwork, Mack defied gravity with amazing jumps. Those jumps!** A friend said it was a switch leap, jete coupe with a 520…huh? I still can’t quite figure out what that is, but WOW! And he did it more than once. Not to be outdone, Miyazaki more than held her own with beautiful extensions, pristine pointe work and top-like turns. Her fouette run in the coda with a double every other turn and a lightly landed triple to finish was only topped by the supported turns with Mack that were so fast, furious and frequent that I lost count. (Yes, I do count them). Get thee to the Pritzker Pavillion in Millennium Park to see this for yourself on Saturday at 7:30 pm. What a way to end Act I.

The only work that seemed to leave the audience perplexed was festival co-founder Lar Lubovitch‘s Crisis Variations (2011), which was likely from a lack of exposure to this style. Set to a musical suite of the same title, and played by the amazing Le Train Bleu, Crisis was difficult and dischordant from the start. The swooping, circular flow that I love about his choreography was absent here, likely on purpose, but I missed it. The dancers of his company began in formations on the floor and for most of the dance, the majority stayed on the floor as if grounded by a magnet or unbearable burden. A couple performed a dependent and (again) difficult duet, climbing and resting on top of one another as if struggling and helping each other at the same time. Perhaps that was the point. Something can come out of a crisis that is unique, strong and loving, but not necessarily pretty.

Brian Brooks in "I'm Going to Explode". Photo by Christopher Duggan.

New York-based artist Brian Brooks followed with a quirky solo I’m Going to Explode (2007). Beginning in a chair on stage left, the suited and ready for work Brooks took off his shoes and jacket, walked to the other side of the stage and started swishing his arms from front to back, then side to side. The movement became more frenetic as if he indeed was going to explode. He looked like a human washing room, but with the cycle going backwards. He started off crisp and dry and ended soaked and disheveled. As he made his way back to the chair, the audience couldn’t wait for him to put his shoes back on before starting to clap. Rounding out the show was a balls-to-the-walls performance of Stanton Welch’s Son of Chamber Symphony by the Joffrey Ballet. This work, created for them last season, demonstrated the opposite end of the classical ballet spectrum. With inside-out tutus, impeccable, off-kilter technique to a contemporary score, Son is almost a ballet inverted. My notes are basically a list of the cast as every dancer brought their ‘A’ game and then some.

It was a spectacular night of dance to open the festival. It makes me proud to be a Chicagoan. I can’t wait to see what happens next.

**UPDATE: I sat next to Brooklyn Mack at CDF’s Dancing in Chicago show last night (08/22/13). He told me the jumps are a twist on a 540, not 520 as I originally reported. Here is a video of a Le Corsaire pas. The male dancer does two 540s at the beginning, so you can see the base of Mack’s incredible jump.