P/Review: River North’s Autumn Passions

River North dancers in Frank Chaves' "Eva". Photo by Cheryl Mann.

This weekend River North Dance Chicago (RNDC) takes the stage of the Harris Theater with their Autumn Passions program. RNDC opened the 2013-2014 season with a shortened gala program on Thursday, Nov. 14 featuring two world premieres, a company premiere and the Harris debut of a 2013 work by Artistic Director Frank Chaves and will perform a full program Saturday and Sunday, Nov. 16-17.

Thursday’s gala performance began with Chaves’ Eva, a suite of dances to jazzed up songs sung by Eva Cassidy. Gorgeous vocal mixed with Chaves’ talent for partnering and duets. Three couples swirled to Cassidy’s rendition of Sting’s Fields of Gold (one of my favorite songs) and although timing was off, it offered  a perfect opening for the evening. A hot, hot, hot quintessentially RNDC, Vent-like duet with Jessica Wolfrum and Ahnad Simmons and a lovely side-by-side duet for Lauren Kias (sassy haircut, btw) and Hank Hunter. Eva closed with a feel good, full company section to Wade in the Water – a jazz-meets-Ailey’s Revelations.

It was a gala, so speeches and donation pitches came before the world premiere of Ashley Roland’s Get Out the Ghost. Roland, co-artistic director of BodyVox came to Chicago in July to set the new work. When I popped in to rehearsals, it wasn’t complete, but after seven days was quickly taking shape. “I need to choreograph faster, otherwise my head gets in the way,” she said. Chaves had asked her to create something “ethereal”. The final section of the Americana work dealing with getting rid of personal baggage or “cleaning your own personal house” is ethereal, but as Roland said, you have to get there first. The work began with the movement, although that’s not always how she works. “It comes through me. It’s not manufactured,” said Roland. “It’s definitely a gift.”

Dancers twitch and twist in angsty spurts while pulling shiny gold mylar pieces from their costumes throughout the first two sections. I get the idea, but it was too literal and while the dancers gave it their all, it seemed over-danced. A little less attack, a little more softness would have served the work better. Daring running dives and catches wowed, but overall, the work needed more subtly.

Dancer Drew Fountain is the first dancer other than choreographer Adam Barruch to perform his theatrical solo work The Worst Pies in London set to the song of the same title from the Broadway musical Sweeney Todd. Barruch himself performed it here at the Chicago Dancing Festival in 2011. Fountain was hilarious and charming in this quirky duet with a table. It’s a definite crowd-pleaser.

The world premiere of  Dawn by Deeply Rooted Dance Theater‘s Kevin Iega Jeff closed the hour-long show and proved to be a stellar showcase of the dancers’ talents. Set to the driving beat of a version of Carmina Burana, Dawn depicts an intense, physical, ritualistic society with goddess overtones, or as Iega Jeff states in the program notes – “a new Age of Enlightenment”. All gold tones and biceps – and I’m talking about the ladies! – Iega Jeff makes these dancers WORK! It really is non-stop, balls-to-the-walls dancing – just what we’ve come to expect from RNDC. Wolfrum was fierce as a the head of the hierarchy, boldly commanding the stage.

My only regret not going to see the performances this weekend is I will miss the stunning Nejla Yatkin solo Renatus danced by diva Wolfrum and Daniel Ezralow’s SUPER STRAIGHT is coming down, which was originally created for Hubbard Street Dance Chicago (and one of my fave pieces EVER). RNDC’s first attempt at Ezralow’s work didn’t meet expectations (injuries, etc.), but I’m glad they are bringing it back with a different cast. My guess is they will knock it out of the theater this time around.

River North Dance Chicago’s Autumn Passions at the Harris Theater, 205 E. Randolph St., Saturday, Nov. 16 at 8 p.m. and Sunday, Nov. 17 at 3 p.m. Tickets are $30-$75; call 312.334.7777 or visit harristheaterchicago.org. 

 

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
 
1/15
 

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: 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.

Thodos New Dances 2013

Brian Hare and Jessica Miller-Tomlinson in Panem nostrum quoditianum, choreographed by New Dances 2013 guest choreographer Ahmad Simmons. Photo credit: ©Cheryl Mann

For 13 years, Thodos Dance Chicago (TDC), once a year, lets the dancers become the boss. New Dances showcases TDC dancers’ voices by giving them the chance to cast, choreograph, design, manage and create. With a panel of experts from the Chicago dance field offering impressions and advice, New Dances 2013 turned out nine new premieres in a range of styles, lengths and talents.

As with any all, in-house choreographic show, there were hits and misses. The only way to learn is to try and see if it works. Kudos to the dancer/choreographers for putting their voices on the stage with audible rain storms, prayer, a sandbox and even cartwheels.

Stand out pieces, for me, were Relativity by Carrie Patterson and Alissa Tollefson (short and sweet, good dancing), Sudden Throws by Cara Carper Balcer and Brian Hare (great difficult dancing), Weights of Being by Ray Doñes and Jon Sloven (nice, smooth partnering) and guest choreographer Ahmad Simmons’ Panem Nostrum Quoditianum (strong, cohesive work incorporating all stage elements – dance, costumes, lighting, sound with stellar dancing). Dancer shout outs to Brian Hare, Ricky Ruiz, Jessica Miller Tomlinson, Annie Deutz, Joshua Manculich,Carrie Patterson, Jon Sloven and Rebecca McLindon! Plus major props to lighting designer Jacob Snodgrass and sound designer Johnnie Nevin.

There is one more performance left – today at 5 pm. Check it out! You’ll get a little taste of everything and will definitely be entertained.

Thodos Dance Chicago presents New Dances 2013, Sunday, July 21 at 5 pm at the Ruth Page Center for the Arts, 1016 N. Dearborn. Tickets are still available ($10-$38) at the theater box office.

Guest Review: Joffrey Ballet’s Othello

Joffrey dancer Fabrice Calmels in "Othello". Photo by Cheryl Mann.

How cool is this? My friend was so impressed with Joffrey Ballet‘s Othello that she took it upon herself to write a review! And the fact that we both led with the same Shakespeare quote proves that brilliant Libra minds think alike. Thanks Joc :)

REVIEW: Othello by the Joffrey Ballet
By Jocelyn Fuller

“O, beware, my lord, of jealousy!

It is the green-eyed monster which doth mock

The meat it feeds on.”

- Iago in Othello

Note from author: I have NO IDEA how to critique or write about dance, so please don’t be offended.

“How are they going to pull this off?” That’s what I asked myself when Rogue Ballerina invited me, a ballet novice and Shakespeare fanatic, to Othello by the Joffrey Ballet. The Bard is known as a wordsmith, not a choreographer. And Othello, my favorite Shakespeare story of manipulation, jealousy and death? I owed it to myself and all Shakespeare fans out there to see it for myself. Don’t get me wrong; I’m a Joffrey believer. I’ve been to four or five shows and never been disappointed, but Shakespeare? Hmm….

Not only am I believer, I may be the maker of the Joffrey kool aid now after seeing this show. It wasn’t just the stunning choreography by Lar Lubovitch, or the dancers, or the chilling sets, or perfectly crafted costumes; it was the riveting score of Elliot B. Goldenthal performed by The Chicago Philharmonic that made the show so electrifying. The way in which this performance told the tale of such a tragic, gut-wrenching story through movement and music was astonishing to me. I found myself more connected and emotionally attached to the characters of the ballet than I have of most theatrical performances I’ve seen in years past.
Fabrice Calmels as Othello was breathtaking. The only other man I’ve seen play Othello on stage who exposed his soul to the role more was James Earl Jones – and that’s probably only due to his bellowing tone and 40+ years he probably has on Calmels. I felt Calmels’ pain, his jealousy, and his rage with every movement as the Venetian Moor.

Oh, Iago. One of the most hated men in all of Shakespeare. How I love to hate thee.  Matthew Adamczyk was spectacular with his sharp movements of scheming and evil, making you feel hatred at his every step. He would make the old Bard himself proud. Many find Othello to be the star of this play, but I always lean a little more towards Iago.

The rest of the cast was equally as talented. April Daly as Desdemona was sweet, innocent and angelic, just as Desdemona should be. Her story telling through her dance was exquisite.

I will most certainly be raving about this show for weeks to come. My passion for Shakespeare has been reignited once again with this powerful performance by a very talented group of people that this city should be so proud to call our own. I am a believer.

 

Joffrey Ballet’s Othello 2.0

Joffrey dancers April Daly and Fabrice Calmels in "Othello". Photo by Cheryl Mann.

O, beware, my lord, of jealousy!

It is the green-eyed monster which doth mock

The meat it feeds on.

Othello: Act III, scene iii

Nobody does drama like Shakespeare. The Bard, who had a birthday this week, adapted the story Othello from a 1566 work by Geraldo Cintio and in turn, Lar Lubovitch, who just turned 70, adapted the tale into movement for the dance stage. Add in an original, chilling score by Oscar-winning composer Elliot Goldenthal and the incomparable opening night cast of Joffrey Ballet principals and you have something extraordinary. Last night, Othello: A Dance In Three Acts, the story, the choreography, the music and the cast all came together in a perfect spiral of love, deceit, beauty, betrayal and death. Joffrey performed this ballet in 2009 to great reviews, but the second time around is even better.

The story. Although Lubovitch doesn’t directly follow Cintio or Shakespeare’s versions, the essence of the story is embedded in his movement. Ballet steps get a contemporary twist with a flexed foot, bent arm or parallel leg. Corps scenes take an ominous edge with twitchy, staccato moves. Each principal’s character is revealed in everything they do. The simple turn of a head or placement of a hand relates the intention in a second. The dancers don’t have to act for the story to be told, yet this cast acted their roles to perfection.

The choreography. For me, Lubovitch’s genius lies in the intuitiveness of his partnering. Sweeping, circular lifts with unexpected holds float to the floor and back up again with amazing fluidity. The strength required for most of his partnering is immense, yet the dancers never look taxed.

The music. Dark and dangerous like the plot, this music isn’t your typical ballet score. Loud timpani drums, saxophone, and oboe punctuate the lighter notes of the marriage pas de deux. Iago’s sharp, thrashing solo is all but dictated by the angry horn section’s shouts. The Act II tarantella speeds to its conclusion carrying the storyline along with its pace. A few Psycho-esque moments let us in a fracturing mind that’s ready to kill. The difficult score was beautifully played by the Chicago Philharmonic Orchestra led by Scott Speck.

Joffrey dancers Fabrice Calmels and April Daly in "Othello". Photo by Cheryl Mann.

The cast. This cast. The originals. Bravo for bringing back the five original principal dancers. Fabrice Calmels (Othello), April Daly (Desdemona), Matthew Adamczyk (Iago), Valerie Robin (Emilia), and Aaron Rogers (Cassio) were completely committed to their characters as if letting them simmer and age for four years made them exquisitely ripe. Calmels was strong, fierce and frightening, cutting an imposing, yet ultimately fragile figure on the stage, his solos impassioned and impressive. Daly made an impression with her first solo (the “Look, he gave me a hankie!” dance) with her bourrees as fast and light as butterflies and beveled extensions to the skies. The two together created something magical with her tiny, delicate, light frame next to his tall, chiseled and dark body. I really can’t say enough about how beautifully these two dance together. Adamczyk personified evil, lurking on the edges spider-like, then creeping in to weave his tragic web with one raised eyebrow revealing the murderous thought in his head.  Robin, a seriously strong dancer, played the battered wife role with aplomb. You have to be that strong to be thrown around like that and make it look easy. Rogers, always delightful, brought his precise technique and ballon to his wrong-place-at-the-wrong-time role. Stacia Holden stood out as the sassy Bianca and special shout outs to Mahallia Ward, Amber Neumann and Michael Smith for their extra reckless abandon in the tarantella.

Cast, composer, conductor and choreographer were all on stage for the ovations and applause, recognition for a job more than well done. This is your last chance to see Lubovitch’s Othello, as it is being retired from Joffrey’s active rep. There are nine performances left. You should get your tickets NOW.

Joffrey Ballet presents Lar Lubovitch’s Othello at the Auditorium Theatre, 50 E. Congress Pkwy. through Sunday, May 5. Performance times vary. Tickets are $31-$152; call 800.982.2787 or visit joffrey.org.othello.

Dancer Spotlight: River North’s Ethan Kirschbaum

River North dancer Ethan Kirschbaum in Adam Barruch's "I Close My Eyes Until the End". Photo by Cheryl Mann.

Monday night I stopped by the Ruth Page studios to peek in on the end of an adult jazz class. A group of women were dancing a short combination to a slow GLEE version of Florence + the Machine’s Shake It Out. Leading the combo was River North Dance Chicago (RNDC) dancer Ethan Kirschbaum, 25, who was sub teaching for a friend. Even though he was marking while demonstrating, emotion and easy enthusiasm oozed out of his body. You could feel how much he loves to dance.

Kirschbaum grew up in Oakland, California and began studying dance on a bet from his babysitter. He and his brother had to take a class and if they didn’t like it, she would buy them a Slurpee. “We went and pretended we hated it to get our free Slurpee,” he said. “But a week later, we were taking classes. We started out in jazz together and slowly started adding classes until I was basically living at the studio. My brother broke off into more hip hop and I went more classical.” His training took him to the San Francisco Ballet School and summer programs with Alonzo King LINES Ballet and the Juilliard School. He was also a performing apprentice with Reginald Ray-Savage’s Savage Jazz Dance Company.

He attended college at the Ailey School/Fordham University in New York where he had the chance to perform with the Ailey company in his sophomore year, travel to the Holland Dance Festival and perform a work by Spanish choreographer Nacho Duato. “I got a lot of great opportunities in school, but I felt like I wanted to get closer to contemporary work,” he said. “The summer of 2007, I was doing my first paid gig with the Santa Fe Opera and I had this epiphany. I should dance with Hubbard Street 2!” He auditioned, got the job and moved to Chicago with college friend Jacqueline Burnett, also joining HS2 (now in Hubbard Street’s main company) in January 2008.  After two and a half years, director Taryn Kaschock Russell suggested he audition for Marguerite Donlon’s company while they were touring in Germany. He did and, shockingly (snark), he got in and moved to Germany in 2010. “It was probably the hardest thing I’ve done to date,” he said. “I’d never lived alone. I’d never lived in another country. I had a boyfriend in Chicago at the time. My heart was here, but my career was there. My friends were here, but my future was there. It was rough, but it brought me a lot of self-awareness.”

Back in Chicago after a season with Donlon Dance Company, he auditioned around town and found a home at RNDC. He’s now concluding his second season. “I think I was intrigued by going back to my jazz roots,” Kirschbaum said. “I think River North has a good balance and a good rep. There was something familial about it. After being in a foreign country for a year, where I felt like I didn’t belong, I wanted to be somewhere that felt like home. It’s been a good fit so far. I love the people I work with. We just have fun every day. We laugh at each other. That’s one thing I’ve really learned. It’s not so much the job, but the people you work with. The day-to-day, in-the-studio is your life as a dancer. It’s not the two minutes on stage; it’s the hours in the studio.”

This weekend, Kirschbaum and his RNDC family perform at the Auditorium Theatre as part of the Music + Movement Festival with the world premiere of Havana Blue, a collaboration with Orbert Davis’ Chicago Jazz Philharmonic (CJP). Davis and RNDC artistic director Frank Chaves traveled to Havana together for a nine days of research, immersing themselves in Cuban music and culture. Also on the program for the one-night-only show are three pieces by CJP and Chaves’ Eva, which premiered earlier this month at the Annenburg Center for the Performing Arts in Philadelphia, coincidentally the same theater where he first auditioned for HS2 (“full circle moment!”). Kirschbaum said of the new work, “It’s very musical, very emotional, very expressive…quintessential Frank. It’s always amazing to have live music on stage next to you. There’s energy. You can make eye contact. You can play off of each other. It’s something special.”

Saturday’s performance is the last of the season for RNDC. Kirschbaum will spend the hiatus teaching – take his 11:30 am intermediate modern class at Conte’s on Saturdays! – before returning to rehearsals in July to start his third season. Eventually he may want to explore other contemporary avenues, but for now, he’s happy where he is. “I love my life,” he said. “Right now, I’m very content with where I’m at. I love my home environment. I love to connect with the community. I love the fluidity of the relationships and how quickly you can all become friends.”

River North Dance Chicago & Orbert Davis’ Chicago Jazz Philharmonic premiere Havana Blue at the Auditorium Theatre, 50 E. Congress Pkwy., Saturday, April 13 at 8 pm. Tickets are $32-$76; call 800.982.2787 or visit auditoriumtheatre.org/musicandmovement.

Luna Negra’s Made in Spain

Luna Negra's Kirsten Shelton & Filipa Peraltinha. Photo by Cheryl Mann.

Split-second shifts and fluid technique ride on thoughtful, thought-provoking choreography set on articulate, authentic artists. Made in Spain, the latest and greatest from Luna Negra Dance Theater (LNDT), performed last Saturday night at the Harris Theater, once again proved the company’s stellar reputation for presenting electric, entertaining and enthralling works. Under the direction of Gustavo Ramírez Sansano, this small group of dancers is thriving and continues to push the boundaries of local contemporary dance. I fear I sound like a broken record, but if you haven’t seen LNDT lately, you MUST go see this group dance!

In the opening piece, Fernando Hernando Magadan’s 2009 Naked Ape, the elastically eloquent Eduardo Zûñiga manipulated the dancers’ actions manually and sometimes verbally through a made up language. “Gibberish, but with a specific idea in the head,” Zuñiga told me. Starched white clothing-like set pieces dotted the stage, one installed with a live mic that when touched by Zuñiga sent the dancers into spasmodic improvisations. Strong performances by all (Zuñiga, Nigel Campbell, Mónica Cervantes, Kirsten Shelton and the continually-impressive Christopher Bordenave) solidify this work as a staple in their rep.

A world premiere by Cervantes, Presente, set to Max Richter’s “recomposed” version of Vivaldi’s Four Seasons delightfully muses on what it means to be present, not stuck in the past or focusing on the future. Fast-moving backward sequences and stunning solo-work by Shelton fly by as little black balls fall out of a hanging abstract white hourglass. The dancers move in and around the balls, even making a separate pile, perhaps trying to save or stop time. Cervantes’ prowess as an aggressive, powerful dancer is matched by her choreographic curiosity and detailed dancemaking.

A new work for LNDT by Magadan closed the show with live, on-stage music from the fantastic Turtle Island Quartet. A chandelier of music sheets and Labanotation notes hanging above the string group, with more crumbled under their feet created a beautiful backdrop for the dancing in Royal Road. The ensemble of dancers again show technical brilliance blending with the musicians in a wonderful riff on the relationship of music and dance. Special mention goes to newcomer Filipa Peraltinha, an outstanding to the LNDT family.

Mordine & Company Diversify

Mordine & Company dancers. Photo by Cheryl Mann.

“I think of the audience as the other part of the art form. Without you, there is no art form,” Shirley Mordine said before her company’s shared program at Stage 773 Friday evening. Mordine & Co. took the stage along with flamenco group Clinard Dance Theatre in an interesting mix of dance diversity. Mordine said the idea came from attending Dance/USA conferences and noticing how another host city (San Francisco) showed a more diverse section of their city’s companies than Chicago did the year we hosted. Deeply Rooted Dance Theatre shares the bill for Saturday and Sunday performances.

Mordine’s 2011 Life Speak about the art of storytelling got a revamp with a larger, vibrant cast. The original cast had seasoned dancers that were earthy and grounded in the work. The 2013 cast, which bumped up from six to eight dancers, boasted a younger cast with solid technique that made interesting choices to make the work their own. The stage sounded like sandpaper (a dancer who had performed their previously said it was painted wood, no marley) adding an extra audible texture to the work.

Clinard’s From the Arctic to the Middle East (Broken Narratives by an American Flamenco Dancer) was a blend of traditional flamenco with contemporary flavor, plus live musicians, a singer and a voice over telling a poem or story. The dancing and the live accompaniment were at the top of their game, but drowned out the voice over, so it was difficult to tell what the story was about. The three women seemed to represent different emotions (angry, sad, lost?) in different stages of life. A swaying hug between two dancers seemed maternal and comforting only to have one break away and spin out of control. Wendy Clinard showed amazingly fast footwork in a brilliant solo.

After a brief intermission, Mordine & Co. took the stage for the premiere of All At Once/Acts Of Renewal. Press materials state the new work is about “…the ability and need to process a deluge of information in the digital age”. Dressed in white with the women wearing bright colored leotards underneath, the costumes might have represented white noise or the sense that with so much information coming at you, you really can’t hear it at all. A slow-motion sequence perhaps suggests we all need to slow down. The short piece needs to flesh out more of the themes in the movement for better clarity and unity. It felt more like a work-in-progress than a premiere.

Final show of Mordine & Co. with Deeply Rooted Dance Theatre is this afternoon at 3 p.m. Stage 773, 1225 W. Belmont. 773.327.5252.

HS2′s Taryn Kaschock Russell: The Exit Interview

Hubbard Street 2 Director Taryn Kaschock Russell. Photo by Cheryl Mann.

On January 17th, Hubbard Street 2′s Artistic Director Taryn Kaschock Russell, rocked the Chicago dance world with this Facebook post: “After 17 amazing years in Chicago…I will be moving back to the east coast…”. You may think I’m being hyperbolic, but this petite powerhouse made a huge impact on the local dance scene. She will be missed. The impetus of the move comes via her husband Greg, who was recently named the new Company Manager for the New York City Ballet. “He started out at SAB (The School of American Ballet),” Kaschock Russell tells me over the phone from her West Loop HSDC office. “To be back managing the building that he learned in, some parts seem full circle.” The couple met while dancing with the Joffrey Ballet soon after the company made the transition to Chicago from New York in 1995.

Kaschock Russell grew up on the East Coast. She graduated high school early and planned on joining Boston Ballet II, but ended up at the Joffrey School in New York right before they declared bankruptcy – “It was a really amusing situation.” – and spent a year in NYC with her brother (dancing with David Parsons) and sister (on scholarship at Ailey). During her seven years at Joffrey, she made quite a name for herself in principal roles including the “Cowgirl” in Agnes de Mille’s Rodeo and as the first female outside of David Parson’s company to perform his six-minute, jump-laden solo Caught. In 2002, she joined Hubbard Street and was soon recognized as a “25 To Watch” in 2003 by Dance Magazine. After retiring from the stage, she began teaching and setting works for Hubbard St as part of the artistic staff – had a baby! – and in 2008, took over as director of the second company, HS2.

RB spoke with Kaschock Russell earlier this month about her career, leaving Chicago at the end of April and what’s next. Here are excerpts of our conversation:

First of all, I’m very sad, but happy for you too.

I know. It’s the same type of emotions I’m having too.

I know you from your Joffrey days. Let’s talk about Caught. Did your brother dancing for David Parsons have anything to do with you getting the part?

Yes and no. David knew me beforehand. I used to sit there and watch when it was only David doing the role. I remember sitting at City Center in the front wing when I was 15, watching David. I’m very proud of this story. I never went in and asked for anything, I didn’t believe in that. I believed in hard work and that should be acknowledged. But when I found great out that David was coming and that they were doing “Caught” that it was one of those opportunities in a career.  So I said, I’m going to get my shit together and I’m going to go in during my lay off and I’m going to tell Mr. Arpino that I just want to learn it. I want to be in the room. I know that women can’t do it, but I want to be in the room and learn it. I walked in and they had the schedule up during lay off, before I went to talk to him, and there were three names on the list to learn it. It was Davis Robertson, Harris Jones and me. I never said anything! He just put me in there.

I have to say, seeing you do that solo was one of the coolest things I’ve seen in Chicago dancing. It was so awesome to see a girl do it. How hard was it? It was all jumps! 

Thank you. It kicked my ass. Basically you have to keep jumping because you don’t know the timing of how the strobe works. It was a ton of trial and error. It is all jumping. After the first or second day, I’d blown out my quads. I had no idea what that was. I couldn’t walk up stairs. My legs kept giving out and then I’d have to go to rehearsal and they were like three-hour-a-day rehearsals. We would do it over and over again. I remember very vividly, he (David) pulled me aside after having me do something like ten more times than the guys did it and he said, “You just bought yourself a matinee missy, if this company will let me put a woman on”. It was really hard. First of all, it took a while to even have the stamina to do it. Still when I was in the wings before I went on, I would feel almost physically sick, because I knew how tired I would be at the end. At the same time, the audience experience is unreal. It’s like a rock performance. I knew that from watching him, but when you feel that and you’re on the stage and the whole audience freaks out that certainly ups the adrenaline. There’s that perseverance of I’m going to get through this.

You came to Hubbard Street in 2002. What made you switch?

I can’t believe I haven’t told you this story. One of the things I loved and was fortunate enough to grow up with was original creations, original choreography. At Joffrey, I got to do that a small amount, but it wasn’t happening quite as often. I had been watching Hubbard Street for years. We always traded tickets. The first inkling when I considered Hubbard Street was after I had just seen NDT’s (Nederlands Dans Theatre) performance of “Petite Mort” on an arts channel. It was the very first piece of choreography on television that made me cry. It was so beautiful and so unexpected and musical. I swear within a week of me seeing it, we got a newsletter at Joffrey saying that Hubbard Street had acquired “Petite Mort”! I remember freaking out. I went to see it and it was right after they’d learned it, so I think the company was still settling in to that kind of partnering, so the experience of watching it from the third balcony at the Shubert didn’t match how I felt watching NDT do it. I thought,ok, I’m still where I’m supposed to be right now. I was kind of getting a bug where I wanted to do more contemporary work, but I wasn’t there yet. Then I had a life-changing experience at Joffrey dancing “Appalachian Spring”. Yuriko Kikuchi came in to set it. The entire experience for me changed a lot of how I was viewing performance or what I get out when I’m learning. She was so giving. She’s very demanding, but so rich with information and not any part of that information felt selfish. She just wanted it to be ours and to watch it grow. It really was profound, the entire exchange and getting to dance that role and working with her. By the time I got to the stage, all I wanted to do was live in it and perform it in that way. I don’t think I’d experienced anything to that point. The process of learning it and putting it on stage was perfect in so many ways. At the same time, I was at a party with Cheryl Mann. She was going through the exact same kind of profound experience (at Hubbard Street). She said, “There’s this man, Ohad Naharin.” She started to describing the initial time he was there for “Minus 16″.  The improvisation, pushing them outside their envelopes, telling stories, how he was using their vocals and everything that went into mounting that first “Minus 16″. So she and I made a pact. She was going to come see “Appalachian Spring” and I would go to see “Minus 16″. They had done “Petite Mort” in that program and then the last thing was “Minus 16″. That time “Petite Mort” floored me. I was in tears. The way they were dancing together was seamless. And “Minus 16″ sealed everything. I think I looked at Patrick Simonello, who was with me, and said, “What am I doing with my life? And why am I not doing this?” It changed everything. I certainly had never thought of staying in Chicago. When you change companies, you normally move cities. I thought I’d go to Europe, or San Francisco or another ballet company. That performance just did it. That’s what I want to do with my life. I wanted to do the work, which made a huge difference and why I’m still here.

HS2 ladies: Emilie Leriche, Alicia Delgadillo, Taryn Kaschock Russell, Felicia McBride and Lissa Smith. Photo by Todd Rosenberg.

Tell me about the transition from dancing to artistic staff.

One of the reasons I stopped dancing specifically is that we were touring so much and I wanted to have a family and that wasn’t working out. It just wasn’t happening. I stopped dancing in December and within a month, Jim (Vincent) asked me to come back to set a piece. Julie (Nakagawa) and Andreas (Böttcher) had just resigned, so there was an interim year where HS2 had a rehearsal director and trying to figure out what to do. I set one piece on second company and shortly after they named me rehearsal director. It wasn’t a full-time contract. I didn’t go on tour, but when the company was here, I was here. Two months after I stopped dancing, I got pregnant. So I was rehearsal director and going back to school (studying Psychology at Northwestern) and pregnant. I really was crazy. I was responsible for remounting works from scratch. I started teaching class for the company. The transition was really smooth. Right after I had Donovan, they had a conversation with me about working with the second company. Basically, from the second I started working with the second company, it was history, because I just fell so in love. I came in the first day. My first group was with Jacqueline (Burnett, Hubbard St.) and Eduardo (Zuniga, Luna Negra) and Ethan (Kirchbaum, River North) How could you not fall in love with them? They were so hungry for information. I started giving corrections on a piece I already knew and the amount that it impacted them within 24 hours was so profound that I was floored. It was two things. It was exhilarating and beautiful and it was scary as hell. They will take what I say and it will mean this much to them. It will make an impact in their lives. The responsibility of it was overwhelming. It was the same way with becoming a new parent. The opportunity to impact lives in that way and help produce change that was meaningful for them. And to just give, in the same way, strangely enough, that I feel Yuriko had given to me. The way she gave to me made me want to give the same way to other people.

What is your teaching/mentoring philosophy?

I’m a little bit crazy. I’m not kidding. I make a fool out of myself every single day, multiple times a day. I’m so not self-conscious about who I am that they feel more comfortable being who they are and I make sure that can happen. I really, truly believe that HS2 needs to be a safe environment for exploration. I give this lecture every single year. You walk into that room and you are there to support each other. You support each others’ failures and successes. You root for everyone to succeed. Not everywhere is like that. I feel that the second company’s experience needs to be a place where they can try and fail in order to get to where they’re going to get to next. You have to fail. You have to fail in big ways and small ways and be able to try things that are ridiculous. The room is a safe room. I really look at everyone individually and try to develop groups that will work to feed off each other’s strengths and weaknesses. I would never want a group of individuals that is very similar, because there’s not enough diversity in the room to add. Everyone comes in with their own experiences and it adds to how everyone grows. They see each other change and I think it helps them. Nobody should want to leave two years later as the same person. They want to be transformed. My directing is trial and error. I’m trying things out. If it doesn’t work, I try other things. I don’t walk in with the answers. I walk in with every bit of information that I have and I give them everything that I have. Even if it’s “I don’t know”. I’m very honest. I try to be extremely honest about what their strengths and weaknesses are even when it’s hard. There are always difficult moments. It takes a lot of confidence on my own part to sit down and know that I’m not going to make someone hate me by saying something difficult. That’s growing up on my part. Laughter. Laughter is enormous. It’s allowing emotion to be shown. Our pieces are set up that they’re theatrical. They’re contemporary internal. They’re always asking for “you” to be in there. Your personality has to be in there. Especially for 18 to 25-year-olds, that can be super uncomfortable. Allowing the time to be ridiculous and silly in that safe atmosphere. You need to be somewhere where you aren’t judged for trying.

What advice would you give to the next director of HS2? 

Allow yourself to be changed. Observe and learn from the people you’re directing. People learn from example. I love the education outreach we do. I believe in it so wholeheartedly. My love for those things goes to my dancers. My willingness to think outside the box in situations and create site-specific improves so they look the best. As I open my mind to things, their minds are open as well, because they see the person in front of the room be excited and inspired. Also, believing the dancers are really special. They are special and they are worth serious investment. Each group of them will change. Adapt to your companies and leading them with strong examples without fear. If you’re asking them to give all of that to you and to create a safe environment, then you have to do it too. You have to lead by example.

What’s in your future in New York?

One of the things I’d like to do is stop touring. He’ll be touring some, so I want to take the opportunity to be the one not leaving. I’ve been fortunate to be able to have worked with a lot of choreographers and NYC isn’t a small dance town. I’ve developed some friendships. I’ve put out some feelers at university programs. That age group fascinates me because they want to learn. But I would be lying if I didn’t say some of the companies there would be interesting to work with. I’m not going towards one thing there. I’m looking forward to spending a little time and teaching in different places and figuring out what might make the most sense. I’m pretty non-committal. My first priority is getting settled and finding where we want Donovan to be in Kindergarten.