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 Celebration of Dance

Ensemble Español Spanish Dance Theater in "Bolero". Photo by Cheryl Mann.

It was a celebration. A celebration of dance. A celebration of the end of an all-free, world-class dance festival. A celebration of the city we love. Last Saturday night, thousands gathered – including Mayor Emanuel – at the Pritzker Pavilion in Millennium Park to enjoy a perfect evening under the stars surrounded by the Chicago skyline for the final night of the 2013 Chicago Dancing Festival (CDF). Dancers representing 13 different companies treated lucky ticket holders to an array of dance styles over the five day festival culminating in this star-studded performance in the heart of downtown.

The celebration began with a CDF commissioned work by Chicago artists Lane Alexander and Bril Barrett for the Chicago Human Rhythm Project, which premiered earlier in the week. In the beginning… created an entire world including soundscape, conversation and relationships with rhythm and footwork. The Joffrey Ballet followed with Jerome Robbins’ 1945 work Interplay. This perky ballet that predates his acclaimed West Side Story is a fiendishly difficult, but fun romp incorporating bright colors, pony tails, big smiles, lots of pirouettes, double tours and even cartwheels. Much to the crowd’s delight, Giordano Dance Chicago‘s Maeghan McHale and Martin Ortiz Tapia brought back a 2012 CDF commission and audience favorite with Alex Ekman’s rubber-faced, romantic comedy piece Two Become Three.

Philadanco in "Wake Up". Photo by Cheryl Mann.

In their CDF debut, Philadelphia-based Philadanco brought a long, meandering work by Rennie Harris. The dancers clad in Soul Train-era, 70s costumes (love the afros!) blend street, jazz and hip hop in an aerobic mix of stylish funk. The dancers were strong in Wake Up (2012), but I wanted to see them do more. Tamako Miyazaki (Columbia Classical Ballet) and Brooklyn Mack (Washington Ballet) once again dazzled in the classical Diana and Actaeon pas de deux (1935). They performed this trick fest earlier in the week, but were even more solid with their dizzying turns and gravity-defying leaps (and some impressive balances en pointe, penché anyone?) than their stellar performance on Tuesday night. “Standing O” in the park. Samuel Lee Roberts of Alvin Ailey American Dance Theatre reprised the intense, dramatic solo In/Side (2008) he had performed on Wednesday and twice on Friday. Roberts danced his heart out on the stage on Saturday, but with a good amount of the choreography performed on the floor, I wonder if it read as well for the people on the lawn viewing the performance mainly via video feed provided by HMS Media on a huge jumbo tron screen. I hope it did, because it was fantastic. The evening ended with Ensemble Español‘s epic Bolero. This flamenco feast for the eyes looked great on the outdoor stage and was the perfect way to end the performance and the festival.

2013 Chicago Dancing Festival

Chicago Dancing Festival at the Jay Pritzker Pavilion. Photo by Todd Rosenberg.

It’s almost that time of year again. In late August (20th-24th), the seventh annual Chicago Dancing Festival (CDF) hits Chicago stages for another year of fantastic FREE dance concerts. Once again, for the third year, I will be part of CDF’s blogger initiative covering the performances and providing dancer/choreographer interviews and behind-the-scenes rehearsal sneak peeks. Woot!

This year’s line up of performers is fantastic. Local companies Chicago Human Rhythm Project, Giordano Dance Chicago, Hubbard Street Dance Chicago and The Joffrey Ballet as well as NY-based companies Alvin Ailey American Dance Theater, Brian Brooks Moving Company, Camille A. Brown & Dancers and Lar Lubovitch Dance Company all return to the fest. CDF newcomers include Chicago’s Ensemble Español and Natya Dance Theatre and Philadelphia’s Philadanco, plus artists Brooklyn Mack of Washington Ballet and Tamako Miyazaki of Columbia Classical Ballet and Dortmund Ballet.

2013 Chicago Dancing Festival will also have two commissions: a new piece by Chi-town tappers Lane Alexander and Bril Barrett and the Chicago premiere of Alexander Ekman’s Episode 31 by Joffrey (this work will also appear on their Winter program in Feb 2014). Live music will accompany the Lubovitch company and Ensemble Español. Tuesday (Aug. 20) opens the festival with a celebration for the Harris Theater‘s 10th anniversary. Wednesday (Aug. 21) is the CDF gala performance and benefit at the Museum of Contemporary Art/MCA Stage. It’s the only event in which you need to purchase a ticket ($250). Thursday (Aug. 22) showcases Dancing in Chicago with an all-local show at the Auditorium Theatre. Friday is a free repeat of the gala performance, Solitaire – A Game of Dance, featuring all solo works. And, Saturday is the much-loved, highly-attended Celebration of Dance at the outdoor Pritzker Pavilion in Millennium Park.

All performances – except the gala – are free. Tickets for indoor events need to be reserved, but the outdoor Pritzker show is open to the public. The ticket release for the performances is staggered and there is a limit of two (2) tickets per order. Stay tuned for a post with the ticket release dates and performance times.

CDF 12: Dancing East & West of Chicago

CDF 12 Giordano Dance Chicago in Alexander Ekman's "Two Become Three". Photo by Cheryl Mann.

The Chicago Dancing Festival continued last night with the Dancing East and West of Chicago program at the Auditorium Theatre at Roosevelt University.  Where Monday night’s Chicago Dancing show focused on local talent, Wednesday’s show featured companies from around the country.  The East was represented by Brian Brooks Moving Company and Martha Graham Dance Company, both from New York, and the West by Ballet Arizona, San Francisco Ballet (SFB) and Pacific Northwest Ballet (PNB) from Seattle.  Not only did the program represent dance companies from coast-to-coast, but the works presented spanned centuries from the 1890 classical ballet (Sleeping Beauty pas de deux) to 2011 postmodern (Brooks’ Descent).

Brook’s piece began with dancers carrying one another across the stage across their backs in a 45-degree plank.  The patterns were a meditation in strength and balance, but the most intriguing moments happened with props.  Dancers waving flat boards created wind gusts that animated pieces of tulle.  The effect was like the movie American Beauty, where the paper bag danced in the wind. Here, the fabric was doing the dancing, while the dancers did the grunt work. It was beautiful.  The other New York contingent presented an all-female work about reactions to war.  Chronicle (1936) highlights the strength of women with Graham’s signature contractions, pitches, cupped hands and severe drama.  The Red Shroud solo performed by Blakeley White-McGuire was particularly intense.  Ladies – fierceness be thy name.

A last-minute Midwest addition to the program was Alexander Ekman’s Two Becomes Three performed by two dancers from Giordano Dance Chicago (GDC).  Maeghan McHale and Martin Ortiz Tapia danced this quirky duet on Monday night at the Harris Theater.  They were delightful then and even better last night.  The audience loved them.

Although only one of the three ballet companies performed a work by George Balanchine, they all have ties to the famous Russian choreographer.  The artistic directors of Ballet Arizona (Ib Andersen), SFB (Helgi Tomasson) and PNB (Peter Boal) all danced for the company Balanchine founded, the New York City Ballet (NYCB).  All three have Balanchine works in their rep and employ dancers that fit in the quintessential Balanchine ballerina mold (read: short waists, long legs, gorgeous feet).  His trademark fast footwork and neo-classical style were on full display in the opening number by Ballet Arizona.  Rubies, an excerpt from his three-part ballet Jewels (1967) was pertly performed by the petite cast – except for soloist Kenna Draxton, who towered above the rest.  The tableau of 15 dancers in a semi circle, dressed in ruby red costumes, hands joined above their heads as the curtain opened was stunning.  What followed was a whirlwind of delight.  Shout out to Jillian Barrel and Nayon Iovino, quite the dynamic duo.

PNB dancers Lesley Rausch and Seth Orza beautifully performed Jerome Robbins’ Afternoon of a Faun (1953), which is set in an abstract dance studio with the audience serves as the mirror.  The haunting score by Claude Debussy lends a melancholic tone to the duet where the dancers seem more interested in their reflections than each other.  While this pas was more casual in tone and in dress (leotard and tights with hair down for her, tights and bare-chested for him), the Sleeping Beauty pas de deux, performed by SFB’s Sofiane Sylve and Vito Mazzeo, was full-out formal.  Normally danced at the end of the nearly three-hour ballet, this duet represents the marriage of the princess to her prince.  The sparkling tiara, tutu and tunic couldn’t out-dazzle this couple.  They were spectacular.

There was one slip up – literally – in last night’s show that I must mention, because I think it was the turning point -wow, no more puns I promise – of the show.  During the Beauty pas, Sylve slipped and fell.  Not just a “whoops!”, but a crash-and-burn on her…um, tutu.  The shock of it had made the audience gasp loudly, but Sylve got right up and finished with the grace and talent of the true professional she is.  I’m (almost) glad this happened for three reasons.  1. Shit happens -  when it does, you get back up and continue on.  2. It proves she’s human.  3.  It not only shows the audience, which more than likely had some ballet newcomers in it, that the stage was slick, but if a ballerina of this caliber can fall just walking to the upstage corner of the stage, it shows just how difficult it is be to dance a difficult pas in pointe shoes.  The slip upped the respect of the audience tenfold, because she made the rest of it look utterly effortless.

 

CDF 12: Opening Night slideshow

After School Matters #CDF12
After School Matters CDF 2012
Bolero Chicago CDF 2012
Bolero Chicago CDF 2012
Bolero Chicago CDF 2012
Bolero Chicago CDF 2012
GDC CDF 2012
GDC CDF 2012
HSDC CDF 2012
HSDC CDF 2012
HSDC CDF 2012
Joffrey CDF 2012
Joffrey CDF 2012
Joffrey CDF 2012
 
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View some great photos taken of the Chicago Dancing Festival‘s opening night program Chicago Dancing taken by the ever-lovely Cheryl Mann.

1 & 2: After School Matters in Touch of Soul by Nicholas Leichter

3 – 6: Bolero Chicago by Larry Keigwin

7 & 8: Giordano Dance Chicago dancers Maeghan McHale & Martin Ortiz Tapia in Two Become Three by Alexander Ekman

9-11: Hubbard Street Dance Chicago dancers Kellie Epperheimer, Johnny McMillan, Garrett Anderson & Pablo Piantino in Scarlatti by Twyla Tharp

12-14: Joffrey Ballet dancers Victoria Jaiani & Rory Hohenstein in In The Middle, Somewhat Elevated by William Forsythe

CDF12: Chicago Dancing

The Chicago Dancing Festival (CDF) kicked off its sixth year with a performance showcasing local talent.  CDF Board Chair David Herro welcomed the audience and took a few minutes to talk about the origins of the fest and its mission.  He said it’s threefold: 1) to make Chicago a national and international dance destination, 2) to keep elevating the dance form and building an audience by providing the best dance at the lowest possible cost – free!, and 3) to provide a forum, a place where these dancers can come together and watch each other perform.  Mission accomplished.

Our dance-loving Mayor was up next, introduced by Herro as “probably the only Mayor in the United States that can do a proper plié”.  (True and something I’m not ashamed to say I’m particularly proud of.)  Rahm Emanuel took the mic, quipping that his plié talent came in handy in the City budget meetings.  While introducing the opener of the show – a performance by After School Matters Hip Hop Culture Dance Ensemble, a program started by the late First Lady Maggie Daley – the current Mayor acknowledged the Daley family in the audience and said the work’s title Touch of Soul was perfect because “dance is the hidden language of the soul.  I can’t think of a better tribute to the soul of our city, Maggie Daley”.  Mayor Emanuel finished by thanking the family – “from the entire city, thank you for sharing her with us”. (Tear.)  That beautiful, but melancholy moment was short lived, because seconds later, 31 young dancers dressed in white took the stage in a world premiere by choreographer Nicholas Leichter with such energy and enthusiasm that the audience was whooping with joy.

Hometown heavy-hitters Hubbard Street Dance Chicago (HSDC) technically tantalized in the epic, exhaustive Scarlatti.  Choreographed for HSDC by Twyla Tharp in 2011, this work for twelve dancers is a testament to speed and stamina.  In their CDF debut, Giordano Dance Chicago (GDC) paired up with Swedish choreographer Alexander Ekman for a humorous duet featuring lead dancers Maeghan McHale and Martin Ortiz Tapia about life and love, but not necessarily a happy ending.  (Great job Maeghan and Martin!)  Intermission was abuzz with conversation, the packed theater a mass of movement, hand shakes and hugs.

The Joffrey Ballet opened Act II with William Forsythe’s In the Middle, Somewhat Elevated.  This contemporary masterpiece from 1987 changed the way people thought of ballet.  The stark set, the off-center partnering, the hyper-flexibility and “I don’t care” attitude wowed audiences then and continue to now.  Dancer Rory Hohenstein’s multiple, multiple pirouettes amazed.  (He later attributed them to a slippery stage.)  The finale of the show was a collaboration with choreographer Larry Keigwin, a few of his dancers and everyday Chicagoans.  Introduced by CDF co-founders Jay Franke and Lar Lubovitch, Bolero Chicago was a tribute to our city.  Big and small, short and tall, the dancers in this piece represented everyone.  A lady reading a newspaper, a woman walking her dog, a passerby smoking a cigarette, a commuter biking to work, a cluster holding on for balance on a bumpy el ride, and a man in drag losing a battle with his umbrella and the wind.  Bears, Bulls, Cubs and Sox tees – even Benny the Bull merrily flipping around the stage.  Illuminated cell phones lit the stage before bows were replaced by the “everyday” contingent jamming out on stage.

Chicago Dancing had something for everyone and everyone liked something different. Perfect.

CDF12 Sneak Peek: Giordano Dance Chicago

Giordano dancers Martin Ortiz & Maeghan McHale work with choreographer Alexander Ekman. Photo by Joel Solari.

A whimsically humorous contemporary duet by Swedish phenom choreographer Alexander Ekman will mark Giordano Dance Chicago‘s (GDC) debut performance at the Chicago Dancing Festival (CDF) this August.  A small group was given a preview yesterday afternoon at Columbia College’s studios on South Wabash.  Ekman, 28, danced with the Royal Swedish Ballet, Nederlands Dans Theater (NDT), Cullberg Ballet and Ballet du Rhin before embarking on his choreographic career, which started in 2006 with a piece created for NDT II.  Since then, he has made new works for companies around the world.  His work, Two Become Three, was originally created last year on dancers at Julliard where CDF co-founder Lar Lubovitch saw the piece and commissioned it for the opening night of this year’s festival.

Ekman has been in town since Monday and set the piece on GDC dancers Maeghan McHale and Martin Ortiz Tapia in about three days.  Ekman recorded a voice over that plays on top of the score providing an audible inner monologue of the characters on stage.  A “surprise” prop at the end of the piece provides another layer of humor to the tongue-in-cheek piece that garnered laughter from the viewers at rehearsal.  The piece is lighthearted and fun, but the dancing is anything but simple.  These two seasoned dancers take the physical and theatrical demands in stride.  An obvious respect and rapport grew out of the intense few days in the studio and the result will delight the audience at Chicago Dancing on Monday, August 20 at the Harris Theater for Music and Dance.

Debuting at CDF12 isn’t the only exciting things happening for GDC.  Kicking off their 50th anniversary season, the company changed its name (notice the “Jazz” is gone), has a brand new website and logo, as well as new administrative offices (1509 S Michigan Ave, 2nd floor) and is a resident company at the new American Rhythm Center* (ARC) which will open new studio space later this month. If good things come in three’s, they’ve overshot by a few and I see only more good things in the future for GDC.

Chicago Dancing Festival presents Chicago Dancing at the Harris Theater, 205 E. Randolph, Monday, August 20 at 7 pm.  Tickets will be released Tuesday, July 17 at noon.  For more information, visit www.chicagodancingfestival.com

*More information on ARC here.