Hubbard Street’s Quinn B Wharton: Man of Mystery

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.

Hubbard St Shatters Own Glass Ceiling

Hubbard St dancer Jonathan Fredrickson in Alejandro Cerrudo's "One Thousand Pieces". Photo by Todd Rosenberg.

The lights dim, the audience settles and music begins to play. The tone is set for an evening of wonder and Hubbard Street Dance Chicago does not disappoint. One Thousand Pieces, inspired by Marc Chagall’s America Windows at the Art Institute of Chicago, celebrates the company’s 35th anniversary season with the first full-length work for the company and the first full-evening work by one choreographer – resident choreographer Alejandro Cerrudo – around a central theme. Bringing both the main company and HS2 dancers on stage together for this world premiere, Cerrudo takes this world-renowned company to a new level of its ever-reaching creative heights.

The curtain opens at the Harris Theater to a lone dancer (Jonathan Fredrickson, hanging briefly on to the ascending curtain) in front of stunning visuals. Blue hues flood the stage highlighting moveable set pieces, some opaque, some clear, some reflective, that look like staggered pieces of glass. A special mirrored Marley floor adds to the reflection/glass theme. Costumes are subdued with dark sheer tunics with a hint of pink or blue underneath for the ladies and dark blue pants with sheer black shirts for the men. The score, a collage of music from Philip Glass and designed by Cerrudo, completes the mood. Once the awe of the scene takes hold. The audience is ready for the dance.

Dancers slide in and out of duets, trios and group work with control and ease. Cerrudo features some – Ana Lopez and Garrett Anderson in frequent, lovely duets threaded throughout, Fredrickson, Jacqueline Burnett, Jessica Tong, Meredith Dincolo and Jesse Bechard – but it’s the moments with all 24 dancers on stage together that really make an impact. The end of Part 1 has everyone doing the same movement, but in alternating directions off three vertical lines having a reflective effect – aided with the mirrors behind them – as if they are multiplying. An interlude between Parts 1 and 2 has Fredrickson floating above the audience like the spirit “Ariel” in The Tempest (from a way too visible harness) reciting a romantic text from an excerpt of Glass’ Einstein on the Beach: Knee Play 5 (*full text below). It could be a nod to the angel or literary figure from the Windows, but that seems to literal for Cerrudo. It’s more likely a love letter to art, to dance, to Glass, to his company, to his fellow dancers and to the audience.

Hubbard St dancers in Alejandro Cerrudo's "One Thousand Pieces". Photo by Todd Rosenberg.

Part 2 brings together the brilliance of the choreography, sets, costumes (both by Thomas Mika), lighting (Michael Korsch), special effects (fog courtesy of Big Shoulders Productions) and dancing in a perfect storm of magic. Shining sparkles dot the floor looking like someone scattered shattered glass across the stage. As dancers move across, the realization hits that it’s water. Three light/fog columns flow down like waterfalls and dancers appear through them from the darkened stage behind to dance in the water. Simply gorgeous.

With that visual still in mind, the shock of intermission was a disappointment and it was a bit difficult to get that vibe back for Part 3, which continued with fantastic dancing from the entire Hubbard Street crew. All the dancers brought their A-game (new company members Laura O’Malley and Quinn Wharton fit in seemlessly), but the true star of the show was Cerrudo himself.  If he’s thinking about topping this any time soon, he better get started now. Wow.

One of the dancers posted to “come get lost” on his Facebook page yesterday. It’s easy to get lost in this world Cerrudo creates completely. A program note quotes Chagall, “Stained glass has to be serious and passionate. It is something elevating and exhilarating.” Serious, passionate, elevating, exhilarating – the perfect description of One Thousand Pieces.

Hubbard Street Dance Chicago presents One Thousand Pieces at the Harris Theater, 205 E. Randolph St., through Sunday, October 21. Tickets are $25-$99. Call 312.850.9744 or visit hubbardstreetdance.com.

Harris Theater box office: 312.334.7777.

*Original text source: Samuel Johnson:

The day with its cares and perplexities is ended and the night is now upon us. The night should be a time of peace and tranquility, a time to relax and be calm. We have need of a soothing story to banish the disturbing thoughts of the day, to set at rest our troubled minds, and put at ease our ruffled spirits.

And what sort of story shall we hear ? Ah, it will be a familiar story, a story that is so very, very old, and yet it is so new. It is the old, old story of love.

Two lovers sat on a park bench with their bodies touching each other, holding hands in the moonlight.

There was silence between them. So profound was theire love for each other, they needed no words to express it. And so they sat in silence, on a park bench, with their bodies touching, holding hands in the moonlight.

Finally she spoke. “Do you love me, John ?” she asked. “You know I love you. darling,” he replied. “I love you more than tongue can tell. You are the light of my life. my sun. moon and stars. You are my everything. Without you I have no reason for being.”

Again there was silence as the two lovers sat on a park bench, their bodies touching, holding handls in the moonlight. Once more she spoke. “How much do you love me, John ?” she asked. He answered : “How’ much do I love you ? Count the stars in the sky. Measure the waters of the oceans with a teaspoon. Number the grains of sand on the sea shore. Impossible, you say. Yes and it is just as impossible for me to say how much I love you.

“My love for you is higher than the heavens, deeper than Hades, and broader than the earth. It has no limits, no bounds. Everything must have an ending except my love for you.”

There was more of silence as the two lovers sat on a park bench with their bodies touching, holding hands in the moonlight.

Once more her voice was heard. “Kiss me, John” she implored. And leaning over, he pressed his lips warmly to hers in fervent osculation…

Sneak Peek: Hubbard Street’s One Thousand Pieces

Hubbard Street dancers Ana Lopez and Garrett Anderson in front of "America Windows". Photo by Todd Rosenberg. Marc Chagall © 2012 Artists Rights Society (ARS), New York / ADAGP, Paris.

Yesterday morning I popped in on rehearsals at Hubbard Street for Alejandro Cerrudo’s much-anticipated new full-length work, One Thousand Pieces,  inspired by Marc Chagall’s America Windows housed at the Art Institute of Chicago. This was the first rehearsal with the mirrors covered and with the dancers getting used to new elements (which I’ve been asked not to reveal), so there was some experimentation with aspects of the movements and a lot of starting/stopping as is necessary in a cleaning rehearsal. With that in mind, what I saw was a company fresh, focused and on the verge of something big.

Preparing for next week’s world premiere celebrating the company’s 35th anniversary at the Harris Theater (Oct. 18 – 21) is a collaborative effort engaging all Hubbard Street dancers – main company and HS2 – with all artistic staff hands on deck. Hubbard Street rehearsal director Terry Marling, HS2 director Taryn Kaschock Russell and dancer Penny Saunders (who is expecting a baby – congrats Penny and Pablo!) take turns running rehearsals and helping Cerrudo mold his new masterpiece.

The little bits I saw – and, frankly I wanted to stay and watch all day – were enough to make me believe this work will be something spectacular. Here’s a little glimpse into the process filmed by HMS Media:

Hubbard Street Inside the Studio: One Thousand Pieces

 

 

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