Hubbard Street Does Kylian (x 4)

Jiří Kylián repetiteur Roslyn Anderson, former dancer and rehearsal director at Nederlands Dans Theater, rehearses Petite Mort with Hubbard Street Dancers Andrew Murdock, foreground, and Jason Hortin. Photo by Quinn B Wharton.

This weekend my favorite contemporary company takes on the Czech master choreographer Jiří Kylián. In their first-ever program dedicated to one artist’s work, Hubbard Street Dance Chicago presents four of Kylián’s works in their Spring Series at the Harris Theater.  Two of the works – 27″52′ and Petite Mort – will be familiar to local audiences and two are Hubbard Street premieres.

Répétiteur Roslyn Anderson, former dancer and rehearsal director at Nederlands Dans Theater (NDT), is no stranger to Chicago. She’s been coming here to set Kylián’s work on Hubbard St. – his work has been in their rep since 1998 – and The Joffrey Ballet for many years. In all, she sets about 16 of his works around the world and has worked with him, in one capacity or another, since the mid 70′s. “I told him I was interested to rehearse,” Anderson said from Hubbard Street’s West Loop studios. “I knew that from a young age that I wanted to rehearse.” Her first staging was Forgotten Land for San Francisco Ballet in the mid 80′s.

Joining Anderson to recreate these contemporary masterpieces are fellow “Kylián authorities” Urtzi Aranburu (staging), Dick Schuttel (sound design and effects), Joost Biegelaar (lighting) and Hubbard Street artistic director Glenn Edgerton, a former director of NDT. Stopping by the studios to catch Edgerton rehearsing the company’s men in Sarabande proved enlightening. As the artistic head of the company, you know he’s the brain behind the rep, but you don’t normally see him in action in the studio. He danced two roles in the work and gave insights to the dancers from a performer’s perspective.

Sarabande, a piece for 6 men, is about “exploring all aspects of masculinity”, said dancer Jesse Bechard. Grunting, shouting and crawling take a beautiful, human edge when set to Bach music. The all-female piece, Falling Angels, a throbbing, tight ensemble piece performed to live music by Third Coast Percussion, immediately follows providing the perfect compliment. The beautiful Petite Mort, set to Mozart, and the abstract, improv-driven 27’52″ round out the program although the works are presented chronologically backwards, a choreographic timeline in retrograde. “His work is so unique,” said Anderson. “The structure of this program, starting with the more recent and going backwards in time is just such a beautiful arc that people are going to see.”

Hubbard Street Dance Chicago presents their Spring Series, an All-Kylián program, at the Harris Theater for Music and Dance, Thursday, March 13 through Sunday, March16. Tickets are $25-$99; call 312.850.9744 or visit hubbardstreetdance.com/spring.

 

Dancer Spotlight: Hubbard Street’s Emilie Leriche

Hubbard Street dancer Emilie Leriche. Photo on left by Quinn B Wharton. Photo on right by Todd Rosenberg.

“I’m an old soul,” Emilie Leriche said. At 20, she’s the youngest main company dancer at Hubbard Street Dance Chicago. She’s also the first dancer to come up through the Hubbard Street ranks entirely from attending Youth Summer Intensives all the way to joining the main company earlier this year. “I’ve done every step on the ladder.” If you haven’t seen her dance, you should. She’s stunning.

Leriche took her first dance class in Santa Fe, NM “because my babysitter danced”. As a self-proclaimed tomboy, soccer was more her style, but she quickly found a love for the art. “I didn’t want to go to ballet class, ” she said. ” She [Mom] forced me into a leotard and kicked me into dance class and, I don’t know, I just liked it.” Proving a natural, she auditioned and was accepted into the Walnut Hill School for the Arts, leaving home at 14 to attend the school full-time for three years. “I had to go,” said Leriche. “This is what I had to do.”

She attended workshop intensives on her summers off including Hubbard Street’s for younger dancers in Los Angeles. The summer before her senior year, she came to the older/advanced dancer intensive in Chicago and was offered an apprenticeship with the second company at age 17. “It was another situation where I had do.” Leriche finished her high school courses online and danced with the second company, HS2, for two years before being promoted to the main company this year. “It’s been really crazy and whirlwindy,” she said.

As a member of HS2, Leriche had to chance last year to perform with the main company in the premiere of resident choreographer Alejandro Cerrudo’s evening-length One Thousand Pieces inspired by Chagall’s America Windows, which the company revisits “by popular demand” this weekend at the Harris Theater. She credits being in the same room with the main company as a learning experience that taught her about professionalism and productivity. “Resetting it has given us the chance to set everything and fix things. It’s given us the chance to beautify it. At this point, we’re excited to get into the theater,” she said. “You hit that point where you say, ‘We’re ready. Let’s do it!’”

Hubbard Street Dance Chicago presents Alejandro Cerrudo’s One Thousand Pieces at the Harris Theater, 205 E. Randolph Dr., December 12-15. Performance times vary. Tickets are $25-$99; call 312.850.9744 or visit hubbardstreetdance.com/winter.

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. 

 

Sneak Peek: Giordano Dance Chicago

Giordano dancers Maeghan McHale and Sean Rozanski in "Exit 4". Photo by Gorman Cook.

Giordano Dance Chicago (GDC) opens the first Chicago engagement in their 51st season this weekend at the Harris Theater. The program boasts a world premiere by Israeli choreographer Roni Koresh, Artistic Director of Philadelphia’s Koresh Dance Company, a world premiere for GDC II from GDC Assistant Artistic Director Autumn Eckman, plus three full-company works and audience favorites Brock Clawson’s Give and Take, Kiesha Lalama’s Alegría and Liz Imperio’s La Belleza de Cuba and a revival of Eckman’s Commonthread.

RB stopped by rehearsal back in August when Koresh was in town working with the dancers on his new work Exit 4. Set to Israeli music with a tribal feel, Koresh’s work is intense. That is an understatement. “There should be danger in this piece,” he said to the dancers. “I want to see who you are. It’s more valuable to me than your movement.” For a company known for its solid technique and upbeat vibe, he was asking them to go deeper. Much deeper.

A fun group section breaks into strong and fierce men’s and women’s sections respectively. The fourth section is, well…intense. After working on the last section, which they had just finished, the dancers looked physically and emotionally spent. Not one to mince words, Koresh did not let up. In fact, at times he was downright mean. But in a final full run of the entire work, what he got out of the dancers was amazing. Perhaps it was the week-long process, the “audience” of friends, board members and press, or just pure exhaustion, but the dancers brought an honest, raw energy to it that blew me away. (Don’t tell anyone, but I had to fight back tears. It was – again – intense.)

“Your last interaction with the audience will determine your strength. Make the audience uncomfortable,” he said. “I am. Just be. Connect.” If (and it will be hard to do), but if they can recreate that final run and make it read from the vast Harris stage, they will have accomplished something really spectacular. I think they can and I hope they do.

Giordano Dance Chicago in their Fall Engagement at the Harris Theater, 205 E. Randolph Dr., Friday-Saturday, Oct. 25-26 at 7:30 p.m. Tickets are $15-$60; call 312.334.7777 or visit harristheaterchicago.org. 

Hubbard Street Does It Again

Hubbard Street dancer Meredith Dincolo in "Fluence". Photo by Quinn B Wharton.

I realize it’s redundant for me to exclaim how spectacular Hubbard Street Dance Chicago is, but…well, they are. Last night’s opening night performance of the Fall Series at the Harris Theater was standard in its phenomenal performers and thoroughly entertaining choreography, but with a few surprises. Works from master choreographers Mats Ek and Ohad Naharin, plus a new work from Princess Grace Award winner (and former Hubbard Street dancer) Robyn Mineko Williams and a world premiere duet by resident choreographer Alejandro Cerrudo showcased the company’s talents from top to bottom.

The first surprise was the emergence of Williams as a thoughtful choreographer that can hold her own with the best of them. Not a shock since we’ve seen her work before, but Fluence was the first time she and her handpicked creative team put it all on stage in a longer, cohesive piece. Quirky chaotic moves turn into a slow duet. A group twitches alongside a lone dancer in his own world.  And then came the bubbles. Yes, bubbles. The delicate spheres came raining down creating a serene, space-like atmosphere. A sole column filled with smoke disintegrated in a puff above dancer Meredith Dincolo, whose solo ended the work with a horizontal disjointed backstroke.

Hubbard Street never lacks for stunning duets in their works, but Surprise #2 is, this time, the couples are female. Emilie Leriche and Alice Klock connect effortlessly in Fluence and Ana Lopez and Jacqueline Burnett in Cerrudo’s Cloudless proved a perfect pairing for his intimate choreography. Cerrudo’s newest work, his 12th for the company, features a dark (obviously) stage, stripped bare with two industrial chandeliers highlighting the dancers. Although we may have seen some of his deft duet designs before, they look completely different (dare I say, even more intimate) set on two women.

The rest of the performance was – no surprises here – stellar dancing of audience favorites Passomezzo (Naharin) and Casi-Casa (Ek). Naharin’s romantic, human duet was at times rough, sweet, funny and endearing with some really difficult, knee-killing dancing by Kellie Epperheimer and Johnny McMillan. The company danced Ek’s work for the first time last season and they have really settled into the piece. Comfortable and at ease, they breezed through the extreme choreography with style and aplomb. Here, the men shined. Quinn B (“Legs”) Wharton opened with a smart, sassy take on the “TV Man” solo and the trio of McMillan, David Schultz and Jesse Bechard gets better and more poignant with each viewing.

Shout out to costume designer Hogan McLaughlin for his futuristic take on leotards in Fluence and a hearty BRAVO to lighting and tech director Matt Miller.

Hubbard Street’s Fall Series runs through Sunday, Oct. 13 at the Harris Theater. Tickets are $25-$99; call 312.850.9744 or visit hubbardstreetdance.com.

 

Hubbard Street Premieres Fluence (preview)

Hubbard Street Dance Chicago in Robyn Mineko Williams' "Fluence". Photo by Quinn B Wharton.

This Thursday, Hubbard Street Dance Chicago presents its Fall Series at the Harris Theater. Opening this Thursday and running through Sunday, the program features two returning works from master choreographers Mats Ek and Ohad Naharin, plus the world premiere of Alejandro Cerrudo’s Cloudless and the Chicago premiere of Robyn Mineko Williams’ new work Fluence, which premiered last month in Minneapolis, MN.

Williams received the news in August that she is the recent recipient of the 2013-2014 Princess Grace Choreography Fellowship Award. “It’s bonkers,” she said. “I’m still shocked about it, but I’m really excited.” The grant money that goes with the award went to fund this new work for nine dancers. As a former Hubbard Street dancer, she knows the dancers well and set to work putting together a creative team. Robert (Robbie) F. Haynes composed an original score, Burke Brown provided his expertise in lighting and fashion designer Hogan McLaughlin created intricate costumes. “My creative team has been so awesome,” said Williams. “They’re all so open to anything I have to say and they’re geniuses on their own. They’re cool, laid back people. I think that’s why I stayed so calm throughout the process.”

According to Williams, the definition of fluence “is a stream of particles crossing a unit area, usually express as the number of particles per second”. Another definition references magical/mystical influence. “I thought both were apropos for the work,” she said. She was inspired by the ideas of individualism and solitude and the creative team took off from that. “We’re still learning how we collaborate,” said Williams. “We’re kind of going from our guts. It’s instinctual.”

The fact that her work is being presented along with choreographers like Ek and Naharin, not to mention her colleague Cerrudo, could make a girl nervous, but she is only grateful. “It’s cool. I feel really lucky to have this opportunity. If I’m doing anything, I’m just trying to be myself.”

Hubbard Street Dance Chicago’s Fall Series at the Harris Theater, 205 E. Randolph St., Thursday-Sunday, Oct 10-13. Performance times vary. Tickets are $25-$99; call 312.850.9744 or visit hubbardstreetdance.com/fall.

 

Aspen Santa Fe Ballet Comes Back to Chitown

Aspen Santa Fe Ballet dancers in Alejandro Cerrudo's "Last". Photo by Sharen Bradford.

Aspen Santa Fe Ballet (ASFB) has been busy. Earlier this year, their touring schedule took them to Moscow, Saratoga Springs, CA. and Wolf Trap. The current season, which began on Sept. 1, has already taken them to Laguna Beach, Portland, Oregon and San Diego. The tour finishes this Saturday, Oct. 5 in Chicago at the Harris Theater. Former Joffrey Ballet dancer Tom Mossbrucker brings his company back to town with a mixed repertory program featuring three contemporary choreographers.

“We’re really excited about the program we’re doing in Chicago because it’s all commissioned work,” said Mossbrucker. “It’s become one of our hallmarks, developing relationships with the choreographers instead of just seeing them one time and then never seeing them again. You develop a trust and it shows in the work. This program really highlights that.” Over Glow, “an upbeat piece that shows off the classicism of the dancers”, is the fourth work by Jorma Elo for the company. Set to Mendelssohn and Beethoven, it features an 11-minute adagio in the middle section with intimate moments that contradict Elo’s usual quick, jerky style. “It’s one of my favorite pieces in the repertory,” Mossbrucker said. “I just love it.”

The company is also working with Spanish choreographer Aayetano Soto for the fourth time. Beautiful Mistake, inspired by “the mistakes we make in our lives that sometimes turn out to be good things”, is his second commission for ASFB. His work Uneven appeared in Chicago at the Chicago Dancing Festival in 2011. “It really shows off that hard-edged side of the dancers,” Mossbrucker said. “His super-physical partnering and the articulation of that makes the dancers look like technical athletes, but with the classical lines still there.” This new work premiered in Aspen earlier this year.

The third work on the program (and the one I’m most excited about) is by Hubbard Street Dance Chicago‘s resident choreographer Alejandro Cerrudo. Mossbrucker, who has seen and presented Cerrudo’s work many times over the last few years, is a big fan. Having danced with Hubbard Street director Glenn Edgerton at Joffrey, he asked his longtime friend if he could “borrow” his choreographer. “He [Cerrudo] has such an intuitive way of knowing what would strike an audience and how many times to introduce it, how to refer to it and to develop off of it,” said Mossbrucker. “There is always something…an image you remember when you leave the theater.” Having such a packed touring schedule meant that they would be traveling with bare bones, so there won’t be any elaborate sets or dramatic theatrics in this work this time – “just pure Alejandro”. This is also the first time Chicago has seen Cerrudo’s work presented on a company outside of Hubbard Street. “I was in the studio watching him create,” Mossbrucker said, “and there was one of those moments where I said, ‘There it is. That’s what I’ve been waiting for’.”

Aspen Santa Fe Ballet at the Harris Theater, 205 E. Randolph St., Saturday, Oct. 5 at 7:30 p.m. Tickets are $25-$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.

Hamburg Ballet to return in 2014!

First of all, Happy National Dance Day! I hope you’ll be tapping, pointing, smacking, twerking, turning, jumping, stomping and shimmying the day away.

Big news! The Harris Theater has announced that Hamburg Ballet will return to Chicago to perform in February 2014. The company wowed audiences last season with the epic, overwhelming, evening-length ballet Nijinsky. This season they bring Director John Neumeier’s Third Symphony of Gustav Mahler for the only American performances. Tickets go on sale – today! Deets below.

Other touring dance highlights in the 2013-2014 season are Savion Glover‘s STePz (Jan 24, ’14) Alonzo King LINES Ballet (Feb 27-28, ’14), Trey McIntyre Project (April 3, ’14) and Ballet Preljocaj (May 2-4, ’14). That is on top of the regular season performances by local troupes /resident companies Hubbard Street Dance Chicago, Giordano Dance Chicago, River North Dance Chicago, Thodos Dance Chicago, Ballet Chicago and Deeply Rooted Dance Theater.

And, I’m super-duper stoked that Wendy Whelan: Restless Creature is coming (March 20). This project pairs the incomparable New York City Ballet ballerina with four contemporary choreographers including Hubbard Street’s Alejandro Cerrudo! The program has its world premiere this August at Jacob’s Pillow (“someone” couldn’t afford to go see it, so…yay!).

Tickets for the Hamburg Ballet’s “Third Symphony of Gustav Mahler” go on sale today – Saturday, July 27 – at 10 am. Tickets are available at the Harris Theater Box Office (205 E. Randolph); call 312.334.7777 or visit www.harristheaterchicago.org.