Hubbard Street dancers Jessica Tong and Jesse Bechard in Alejandro Cerrudo's "One Thousand Pieces". Photo by Todd Rosenberg.
Kylián, Naharin, Ek, Duato, Forsythe. Five big names – perhaps the biggest – in European-based choreography will be represented by Hubbard Street Dance Chicago in the 2013-2014 season. Add in a reprise of resident choreographer Alejandro Cerrudo’s full company, Chagall-inspired One Thousand Pieces, plus a world premiere from him next June and it looks to be another amazing season for the 36-year-old troupe. All performance will be held at the Harris Theater (205 E. Randolph).
I’m super stoked about getting to see One Thousand Pieces again. I was very melancholy leaving the theater last year, after seeing it for the second time. I didn’t want it to be over. Set to music by Philip Glass, Cerrudo creates a vivid, beautifully surreal world in water, glass and blue.
Over the years, Hubbard Street has challenged me to expand and/or change my perception and likes/dislikes of choreography. Some of my favorite works now are from choreographers I had never heard of growing up in Central Illinois. It will be interesting (and fun!) to see which of the five superstar international choreographers will come out on top at the end of next season. (Front runner: Forsythe, by a hair.)
Former Hubbard Street dancer Robyn Mineko Williams, now making quite a name for herself as a choreographer, will also create a new work for the company to premiere in October. Also of note, Terence Marling will succeed Taryn Kaschock Russell as the new director of HS2 – congrats!! – and Lucas Crandall returns to Chicago to fill Marling’s former role as Hubbard Street’s rehearsal director.
Fall Series – October 10-13, 2013: Passomezzo (Ohad Naharin), new work (Robyn Mineko Williams), Casi-Casa (Mats Ek), and the Compass quintet from AZIMUTH(Alonzo King).
Winter Series - December 12-15, 2013: One Thousand Pieces (Alejandro Cerrudo).
Spring Series – March 13-16, 2014: All Kylián! Sarabande, Falling Angels, 27’52″, and Petite Mort.
Summer Series – Gnawa (Nacho Duato), Quintett (William Forsythe), world premiere (Cerrudo).
Hubbard Street & LINES Ballet dancers in Alonzo King's "Azimuth". Photo by Margo Moritz.
What happens when two very different top contemporary companies combine talents for a much-anticipated joint appearance including a premiere commissioned by the Harris Theater in honor of its 10th anniversary and funded in part by a grant from the Joyce Foundation? You get an amazingly danced, slightly overwhelming, long-ass show. Last night Hubbard Street Dance Chicago and San Fransisco-based Alonzo King’s LINES Ballet took the stage for the Chicago premiere of a new collaborative work by King presented with an older work (Rasa) from King and a work by Hubbard Street resident choreographer Alejandro Cerrudo. As the culmination of a years-long process that included a three-week residency at the University of Irvine and the world premiere collaboration of Azimuth, it is a historical dance feat, for sure, but this felt like a LINES Ballet show with Hubbard Street as mere guest artists.
King has a unique approach to choreographing, pushing the dancers to always investigate and make choices with their movement. This makes for interesting, ever-changing dancing, but at times proves tiring for the audience and with works pushing 40-minutes a piece, a little editing would go a long way. His philosophical base of construction is a bit too heady for my taste, but what he gets out of the dancers is astounding. His dancers are beautiful creatures with legs, arms and technique for days that move in a way that is uniquely King-created. There is something in the way they move their arms that is breathtaking. Courtney Henry, Keelan Whitmore and Michael Montgomery were stand outs in this super talented group.
As if thrown in as a quirky palette cleanser between King pieces, Cerrudo’s Little mortal jump offered lighter fare with its whimsical, theatrical humor. The ending duet between Jesse Bechard and Ana Lopez (my favorite part) is usually clouded in dark, foggy lighting that adds to the ethereal quality of the slow-motion duet. Last night’s lighting was much brighter (showing dancers behind boxes, the couple exiting upstage, etc.) losing some of its magic.
Obviously, with King choreographing the new work, the LINES dancers were at an advantage, but the fact that Azimuth looked like another all-LINES piece is a testament to the Hubbard Street dancers’ chameleon-like talent to assimilate. Some adapted quicker than others – Jacqueline Burnett, Johnny McMillan and Kellie Epperheimer were all featured in solos. Epperheimer was also featured in a soaring quintet aided by Hubbard Street men (Jonathan Fredrickson, Garrett Anderson, Bechard and David Schultz) that had her diving, floating, skimming, jumping and climbing around the entire stage. Yet, when all 26 dancers were on stage moving together, it was a lot to take in. The dancers I’ve spoken with all say it was an inspiring process and I’m sure they have all grown from it, while gaining new friends as an added perk.
Hubbard Street + LINES Ballet at the Harris Theater, 205 E. Randolph, through Sunday, March 17. Tickets are $25-$99; visit www.hubbardstreet.com or call 312.334.7777.
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.
Hubbard Street's Kellie Epperheimer in Alonzo King's "Azimuth". Photo by Margo Moritz.
In 2011, The Joyce Foundation awarded a grant to Hubbard Street Dance Chicago and San Francisco-based Alonzo King LINES Ballet for a multi-year collaboration culminating in a shared program coming to the Harris Theater next week. Hubbard Street will perform resident choreographer Alejandro Cerrudo’s 2012 work Little mortal jump and LINES performs King’s 2007 Rasa. The show ends with the Chicago premiere of the two companies combined in King’s Azimuth.
The well-received new work had its world premiere earlier this year in Berkeley, California and will also be presented for one-night-only later this month in Madison, Wisconsin and later this summer in Los Angeles, California. King came to Chicago last year to work with the Hubbard St. dancers and the companies both did a three-week residency last summer at the University of California Irvine. He used all of his LINES dancers and all but two of the Hubbard St. dancers to create a cross-country masterpiece for 28 top-of-their-game dancers.
One of those dancers is Hubbard St.’s teeny phenom Kellie Epperheimer. At 5’1″ “on a good day”, she’s on the shorter end of the spectrum on stage with the LINES dancers who tend to be tall (one of their female leads is 6′!). Epperheimer, 27, was featured in King’s 2000 work Following the Subtle Current Upstream (in the Hubbard St. rep since 2011) and is featured in the new work, particularly in a quintet section that has four Hubbard St. men carrying her around the stage in a lengthy lift sequence as if she’s floating on air. A California native, she recalls being “blown away” seeing Hubbard St. perform Ohad Naharin’s Minus 16 as a teen. She was crushed when she didn’t make it into Julliard for college, but moved to New York anyway to train and took every class she could. In 2005, she joined HS2 under the direction of Julie Nakagawa and Andreas Böttcher. “They were extremely formative in my transition,” she said over the phone while on tour. “I don’t think I would be where I am today without their help and guidance.”
After two years in the second company, she joined the main company where she’s now in her sixth season. Here’s an excerpt of our conversation:
What’s it like working with Alonzo?
He is an incredible mind. He has these ideas and is really interested in having the dancers explore the work of what he gives. There’s a lot of freedom, I think, in his movement. You can push yourself and not get too comfortable. He’s a big fan of it constantly changing and morphing and testing your limits to see what happens. I think he asks a lot from his dancers, in a really excellent way. He’s specific with certain things, but how you interpret that is very free, which allows the dancer to put in their personality.
How are his dancers different from Hubbard St. dancers?
They’re not that different. They are a taller company, for sure. Their bodies can do some amazing things that I can’t. I had hip surgery a couple of years ago, so my legs don’t go up as high as they used to. I think we get low. My initial impulse is to drop my center and get low. It’s been nice to have him test me to be up quite a bit and use that space as well.
Did you notice either company changing the way they moved? Did you adopt each others’ style?
Absolutely. I think it was a good two-way street. We all were very influenced and inspired by each other. They work with him often, so they know his vocabulary better, but they were really interested in how we were approaching it as well. It was a great experience. It was nice to have a community like that.
Tell me about the new work, Azimuth.
He did an excellent job of using all of us. It starts out with a large group section. We’re all dancing on stage, but interpreting our own timing and rhythms. We eventually sync up to do another large group dance. The different bodies and dynamics are interesting. We have a couple of sections with duets where we are integrated amongst the LINES dancers. It’s a nice little journey he takes us on throughout the piece with breakout solos and an ebb and flow to it.
Hubbard Street + LINES Ballet perform at the Harris Theater, 205 E. Randolph St., Thursday-Sunday, March 14-17. Tickets are $25-$99. Call 312.334.7777 or visit hubbardstreetdance.com.
Thodos dancers Jessica Miller Tomlinson and Alissa Tollefson in "A Light in the Dark". Photo by Cheryl Mann.
The Chicago premiere of A Light in the Dark: The Story of Helen Keller and Anne Sullivan opens this weekend at the Harris Theater. Thodos Dance Chicago(TDC) founder Melissa Thodos teamed up once again with Broadway legend Ann Reinking and dance/acting coach Gary Chryst to co-create this new story ballet about the beginning of a lifelong friendship.
A few weeks ago, I sat in on interviews with Thodos and Reinking by Emmy-nominated filmmaker Chris Olsen of Kai Harding who is filming a documentary, Touch, about the process of making the ballet. You can watch excerpts and clips of the doc here. The thing that struck me most was the passion behind the project from all involved.
After the success of their first collaboration, The White City, Thodos and Reinking knew they had something special. “We knew we weren’t finished, We had more stories to tell,” Thodos said during the Olsen interview. “It was just a matter of finding what story we wanted to tell.” She credits Chryst for suggesting the idea at a White City post-party in 2011. Read my interview with Chryst for Windy City Timeshere. Reinking said, “It was a precipe of a new age. Once they cracked the code with the alphabet, Helen was brilliant. They became quite famous.” The ballet focuses on a short period of time when Keller first meets Sullivan and they learn how to communicate. Incorporating spoken word and sign language with the dance steps TDC has created a truly special piece that pulls an emotional response. The evening is rounded out with a world premiere from Thodos, a world premiere from KT Nelson of ODC Dance Company and a repertory work from local choreographer Brain Enos.
Thodos Dance Chicago’s Winter Concert at the Harris Theater, 205 E. Randolph St., Saturday, March 2 at 8 pm and Sunday, March 3 at 2 pm. Tickets are $30-$60. Call 312.334.7777 or visit harristheaterchicago.org.
It was a packed house at the Harris Theater last night for the opening night of the Hamburg Ballet‘s epic ballet Nijinsky. The curtain was already up as the audience began to fill the theater, viewing a stage filled with a grand set depicting a formal ballroom complete with white columned second-level seating, a giant modern chandelier and a live pianist playing. A lone wooden chair sits in the middle of the ballroom waiting as guests arrive talking and laughing aloud. Before a step is danced, it is clear, this is not your typical ballet.
The ballet, choreographed in 2000 by Artistic Director and Midwesterner (he was born in Milwaukee, WI) John Neumeier, begins with Vaslav Nijinski’s final public performance in a hotel in Switzerland in 1919. Extensive program notes reveal that the dancer is already quite mad with schizophrenia by then and the ballet dives into his mind’s “thoughts, memories and hallucinations” during this last solo. Memories of his lover Sergei Diaghilev, his marriage and subsequent betrayal by his wife, plus characters he danced and choreographed all morph into a wild, confusing tale of love, sadness and madness. A Harlequin, a poet, a slave, a rose and a faun. With all of the character’s he’s ever danced or choreographed all dancing on stage at once, it makes you feel…well, crazy.
Act II dives even deeper into his mad mind combining his scandalous ballet Le Sacre du Printemps (which Joffrey Ballet will be performing next season) with the first World War making a haunting and frightening mental journey. The score of Shostakovich’s Symphony No. 11 adds to the dramatic climax. Neumeier creates the perfect blend of manic dancing with subtle sadness. On a touching note, even though Nijinksi’s wife, Romola, had broken his heart by cheating on him, she is the one who is there throughout to care for him. As the ballet ends, we’re transported back into the ballroom where the solo is ending, but now all the characters are represented maniacally laughing with the sets askew and distorted. It’s not a feel-good ballet, but it is definitely something you want/need to see.
The large cast (I counted close to 60 dancers on stage at one point) was extremely talented, but Alexandre Riabko as Nijinski brilliantly stole the show. His charismatic and vulnerable portrayal of the troubled artist that had him dancing most of the 2 1/2 hour ballet, was intriguing, inspiring and heartbreaking. Dazzling tours and jumps with pristine technique melt into a contorted, catatonic pile on the floor and back again. Other stand outs were Helene Bouchet (his wife), Carsten Jung (Diaghilev), Alexandr Trusch (Spectre de la Rose), Thiago Bordin (Golden Slave) and Edvin Ravazov (Father).
The final performance of Hamburg Ballet’s Nijinski is tonight at the Harris Theater. For tickets, call 312.334.7777 or visit www.harristheaterchicago.org.
Alvin Ailey American Dance Theatre dancers in "Revelations". Photo by Christopher Duggan.
Nothing says end-of-the-year-review time quite like the last day of the year…am I right? My proficiency in procrastination aside, now is the time to reflect on the past year and look forward to new, exiting surprises in the next. Here’s my Dancin’ Feats year-end review for Windy City Times that came out last week noting 12 memorable performances/performers of 2012, but I wanted to add a few more things.
Looking back at my notes and programs from the year (yes, they are all in a pile, I mean filing system, in the corner of my bedroom) I am so thankful for all the wonderful dance I get to see. Narrowing it down to 12 “top whatevers” was not an easy task for there were too many people and performances to name. Here are some other performances that are still in my thoughts:
Alvin Ailey Dance Theater in Ohad Naharin’s Minus 16. Although Revelations is still amazing, seeing this company in more contemporary work was refreshing. And the audiences at Ailey performances are a show unto themselves.
The Seldoms, in their tenth year, deconstructed the Harris Theater and traipsed around the world to collaborate with WC Dance in Tapei, while tackling the ongoing arguments around climate change with artistic director Carrie Hanson’s trademark wit and intelligence.
Before Hubbard Street Dance Chicago turned 35 this fall, it said goodbye to retiring, beloved dancer Robyn Mineko Williams. Artistic Director Glenn Edgerton completed his goal of presenting all five master European choreographers in the rep with the acquisition of Mats Ek’s Casi-Casa. Ek’s work took the company to a new level, but I’m still haunted by their dancing in William Forsythe’s Quintett from the summer series.
Hubbard Street dancers Ana Lopez and Alejandro Cerrudo in Mats Ek's "Casi-Casa". Photo by Todd Rosenberg.
Opening night of Hubbard Street Dance Chicago‘s Winter Series at the Harris Theater last night marked the first time a U.S. company has presented the work of Swedish master choreographer Mats Ek. Well-known in Europe for his theatrical creations for stage and film, Ek has worked with acclaimed dancers like Sylvie Guillem and Mikhail Baryshnikov. Now, with the help of dancers Ana Laguna and Mariko Aoyama, he takes our very own Hubbard Street dancers to new, extraordinary heights in his 2009 work Casi-Casa. A mash-up of two of his previous works, Appartement and Fluke, Casi was originally created for Danza Contemporánea de Cuba in 2009. Also on the program, Aszure Barton’s grand Untouched and two works by resident choreographer Alejandro Cerrudo.
Although last on the evening’s program, Ek’s Casi is what everyone came to see. Even founder Lou Conte was there to witness his company make history. And make history they did, for once they raised the bar for themselves, the audience, the city and the country by excelling in this work, they can never go back. The cast of 12 dancers was stellar, but it was the staging and choreography that transfixed. Casi-Casa was stunning, ugly, casual, urgent, funny, human, disturbing and wonderful. Ek’s way of taking a mundane gesture or activity and turning it into something alternately beautiful, endearing and disgusting is true brilliance. With a cast of misfit characters like TV Man, Vacuum Woman, Stove Couple and Door Couple, the 40-minute piece flies by and leaves you wondering just what the hell happened. No, really…WTF just happened? Poking, sniffing, sighing, spitting, grabbing and whistling mix easily with insanely difficult, breathtaking dancing set to a score as schizophrenic as the characters. Vacuum cleaner-wielding women dance an OCD-frenzied jig, a couple struggles to stay together while tragedy roasts in an oven, and a man makes being a couch potato an art form. The work has everything you never thought you’d see on stage in a dance and then some. There is a sexual undercurrent throughout – a hand to the breast, a foot to the crotch, a groping embrace – that is sometimes nonchalant, purposeful, sad and almost crude. One of the most beautiful moments was a delicate, loving duet between Jesse Bechard and David Schultz. A section with no dancing had yellow and black caution tape zig-zagged across the stage as Hitchcockianly dangerous music blared as if to say, what happens in between these walls should not be seen. But Ek lets us look anyway.
Barton’s Untouched is a beautiful work that brilliantly showcases these dancers talents. Originally created on Hubbard Street in 2010, Barton incorporated bits of the dancers personalities into the movement. Even though a few of the performers have changed, the delicate intimacy of the gestures remain, punctuated by strong technique and creative partnering. With a lush red curtain pulled back on stage right as a backdrop and an almost formal informality to the structure, it is reminiscent of Edwaard Liang’s Age of Innocence, but on LSD. It’s just a little off. Where Liang’s duets are pristine with a feminine sense of longing, Barton’s transforms the women – Ana Lopez and Kellie Epperheimer – into wounded birds seeking freedom. Where Liang works within the structured lines of Victorian court dances, Barton takes that framework and alters it with syncopation and weight. Unexpected moments of impatience – a fast hip bounce, a dancer frantically running in place – dot the more serene essence of the dance. The dancers are at home in this piece. Plus, anything that begins with the gorgeous Meredith Dincolo in a floor length dress is assured to be spectacular.
In between Barton and Ek was a suite of dances by Cerrudo. Both have his penchant for dark lighting and mood, but to different ends. Blanco, a study in minimalist movement for four women, and PACOPEPEPLUTO, a tongue-in-cheek romp for three men to Dean Martin songs, highlight the rising choreographer’s serious and light sides. Both used similar movement vocabulary with results at the opposite ends of the dance spectrum. The audience seemed in awe of the raw physical beauty of the women, but the charming men – Johnny McMillan, Schultz and Pablo Piantino – captured their hearts wearing nothing but dance belts. Recently named to Crain’s Chicago Business’ “40 Under 40″ list, Cerrudo shows what he can do with just music, lighting and bodies. While all the dancers deserve high praise, Cerrudo gets a special mention. With his busy schedule traveling the world setting his work, he hasn’t graced the Harris stage – aside from choreographic bows – since last March. He showed that he still has the chops to hang with and stand out in this amazing group of dancers. Bravo!
Hubbard Street Dance Chicago’s Winter Series runs through Sunday, Dec. 9 at the Harris Theater, 205 E. Randolph. For a 20% discount on tickets use the code: CASI at www.hubbardstreetdance.com/winter.
Hubbard Street dancer Quinn B Wharton. Photo by Cheryl Mann.
Her: What’s the B. stand for?
Him: It’s a good question, isn’t it? I’ll never tell.
Her: Ooh, it’s top secret!
Him: It’s more interesting that way, right? There’s no period.
Her: Is that an artistic statement?
Him: It’s like that on my birth certificate, Quinn B Wharton. There’s a reason.
Her: Do you want to tell me?
Him: Then you’d know and it would be no fun. Maybe I’ll tell you someday.
That’s how my conversation began with the tall, lean, talented dancer at Hubbard Street Dance Chicago. Quinn B – no period – Wharton was bright, blithe and downright bewitching when we met over tea (for him, he was recovering from a cold) and decaf (for me, ’nuff said) two weeks ago. Who is this man with the mysterious initial and missing punctuation? I did my best to find out.
Wharton grew up in Seattle and began taking hip hop classes with a friend through an inner city outreach program. Pacific Northwest Ballet School‘s Dance Chance program took notice and offered him a scholarship. After a five-year “drought” in his training when his family moved to Hawaii, he relied on the wisdom of his ballet-teaching grandmothers to find him a teacher to get him back in shape. A summer program at San Francisco Ballet (SFB) led to three years at the North Carolina School of the Arts before he returned to San Fran to join the ballet company’s trainee program, or second company, while completing his degree via correspondence. Wharton danced with SFB, under the direction of Helgi Tomasson, for seven years before joining Hubbard Street in the summer of 2012.
In 2008, during SFB’s 75th Anniversary season, Wharton sustained a lower back injury that kept him from dancing. He used his down time to develop an impressive talent in photography. After “working like hell” on his ballet come back, he started traveling and auditioning to see what else was out there in the dance world. Now, he joins fellow SFB alums Garrett Anderson and Pablo Piantino at Hubbard Street.
Wharton, 25, will be dancing the opening “TV Man” solo in Swedish choreographer Mats Ek’s Casi-Casa this weekend at the Harris Theater. Hubbard Street’s Winter Series will be the first time an American company has presented this work. Also on the program, Canadian choreographic phenom Aszure Barton’s Untouched, a dense and grand work make for the company in 2010, and a coupling of short works by resident choreographer Alejandro Cerrudo. One is a quartet for women, the other a trio for men.
Ek has been in and out of town working with the dancers for a while, but is aided by his wife/muse Ana Laguna, who notably danced a duet with Mikhail Baryshnikov at the Harris Theater in 2009, and repetiteur Mariko Aoyama, who is well-known for her work with Pina Bausch. A rehearsal earlier this fall for the “TV Man” solo had Laguna riffing on the finer points of chair slumping and nose picking. Here is a peak into the rehearsal process filmed by HMS Media:
Wharton (also a gifted videographer) started his Hubbard Street career with a bang. Only two weeks in, he found himself learning Twyla Tharp’s SCARLATTI to replace an injured dancer the next night at the Chicago Dancing Festival. Welcome to Chicago! Here’s a bit of our chat on working with Ek.
I’ve read a lot of articles and interviews in the past few years and most of the dancers say they want to work with Ek. Is he someone you aspired to work with?
He wasn’t, actually…until now.
Since he wasn’t on your list, what makes it…
Amazing? It’s watching someone that’s been so thoroughly in his craft for so long, so specifically. It’s very different from how most dance is portrayed. It’s almost like from a theater background. You can tell from what he makes for film. I don’t know what it’s like when he creates, but it seems like he comes into the room with these characters and bases dances on them as opposed to creating movement and infusing it with character, which is what most people do, if at all. He’s a little soft-spoken. He’s tall. He wants really big movement. He’s not irrational with what he expects, but he does demand a lot. He’s respectful, which is nice. When he came back this past week, we were working on the TV solo. Watching it is really weird, but hearing him talk about it, makes complete sense. At first it seemed really obscure. The TV Man is in love with this game show hostess on tv and you write her a bunch of letters and she doesn’t respond to you. You love her, but you hate her and this couch is always here for you and it’s your friend you love it. There are people out there like that and it allowed me to relate to what I was doing.
What was it like working with Ana and Mariko?
I can see why Mariko was here first. She’s super sweet. She’s very detail-focused. She gave us a lot of information very quickly. She’s fast and she pushes. She’s quirky and she’s worked in very contemporary dance for years with Pina Bausch. They both just give us a base, because they know Mats will come in later. Ana is a sweetheart, beyond sweet. Obviously she knows Mats work inside and out.
In rehearsals you were playing with a black bowler hat. What’s with the hat?
What IS with the hat? I like hats. I am the hat man, as well. I die at the end of my solo. I turn the tv off and I die, because that is my world. “Vacuum Lady” comes on and has a hat. I go for it and she takes it away. I put it on and she sends me somewhere. It’s very conceptual. Either it’s another world or I’m a spirit. I provide transition and “slight leadership”. Every time I come in to change a scene, I’m wearing the hat…except for the finale.
Hubbard Street Dance Chicago presents its Winter Series at the Harris Theater for Music and Dance, 205 E. Randolph, on Thurs., Dec. 6 at 730 pm, Friday-Saturday, Dec. 7-8 at 8 pm and Sunday, Dec. 9 at 3 pm. Tickets are $25-$99. Call 312.850.9744 or visit hubbardstreetdance.com.
RNDC dancer Jessica Wolfrum in Nejla Yatkin's "Renatus". Photo by Cheryl Mann.
“It’s a beast,” she says, referring to the costume she will be wearing this weekend at the Harris Theater. River North Dance Chicago (RNDC) veteran dancer, Jessica Wolfrum, dons “the dress” for a world premiere solo work created by German (now Chicago-based) choreographer Nejla Yatkin and artistic director of NY2 Dance as part of Momentum. Set to the aria from Puccinni’s Tosca, the piece is an emotional, dramatic tour de force.
In her 11th season with the company, Wolfrum, 32, is ready for the challenge. After considering retiring from RNDC last season – “I didn’t feel like it was time and I didn’t want to regret anything.” – she’s back in full concentration mode and ready to go. The solo’s title Renatus means rebirth and explores life’s transformations. “My solo work is very personal, from a personal place,” Yatkin told me over the phone earlier this month. “It’s about transformation, transcendence, letting go of the old and stepping into the new.” She chose Wolfrum for her strength, passion, maturity and subtlety. As for Wolfrum, she’s inspired by Yatkin and enjoyed the intense, intimate and awesome experience in rehearsals.
The piece is a dance for one, but Wolfrum feels its more a duet with the huge, taffeta dress being her partner. Learning to dance in it was difficult. “It took a lot of time to allow it to move and to listen to it,” she said. “Now, I can hear the rhythm of it moving. It’s like a second skin.”
Also on the program, a full-company world premiere by New York choreographer Adam Barruch some audience favorites including maniacally upbeat Three (Robert Battle) and Beat (Ashley Roland), excerpts from Sabrina and Ruben Veliz’s Al Sur del Sur with artistic director Frank Chaves’ works Forbidden Boundaries and The Good Goodbyes.
River North Dance Chicago presents Momentum at the Harris Theater, 205 E. Randolph, Friday-Saturday, Nov. 16-17 at 8 p.m. Tickets are $30-$75; call 312.334.7777 or visit harristheaterchicago.org.