Luna Negra’s Made in Spain

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

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

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

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

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

HS2’s Taryn Kaschock Russell: The Exit Interview

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

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

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

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

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

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

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

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

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

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

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

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

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

Tell me about the transition from dancing to artistic staff.

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

What is your teaching/mentoring philosophy?

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

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

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

What’s in your future in New York?

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

 

Chicago Dance 2012 Highlights

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.

Paris Opera Ballet and American Ballet Theatre‘s performances of Giselle were stellar for their star-studded casts on opening night, but ABT’s Sunday matinee with real-life couple Yuriko Kajiya and Jared Matthews stole my heart.

Luna Negra Dance Theater founder Eduardo Vilaro brought Ballet Hispanico to town with former Chicago dancers (Jamal Callender, Jessica  Wyatt and Vanessa Valecillos) back for a rep show at the Dance Center to much acclaim, while current director Gustavo Ramirez Sansano continues to take the company in new and fascinating directions.

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.

The Joffrey Ballet performed Forsythe’s In the Middle, Somewhat Elevated in their regular season and at the Chicago Dancing Festival. I was proud to be an official CDF blogger for the second year in a row. New to the fest this year was Giordano Dance Chicago, now celebrating 50 years. And Muntu Dance Theatre of Chicago hit 40!

River North Dance Chicago dancer Ahmad Simmons deserves a mention for his work in Ashley Roland’s Beat, particularly his performance on the Pritzker Pavillion stage in Millenium Park.

Special thanks to Catherine Tully of 4dancers.org for her continuous and generous encouragement and insight. Thanks lady!

Dance writing-wise, I’m thankful for the opportunity to write for Front Desk Chicago, Windy City Times, 4dancers and Dance Magazine.

I could go on (and on…), but tomorrow is a new year and I look forward to seeing more incredible dancing and dancers in our most awesome city. Happy New Year!

 

Luna Negra: A New Adventure for Moniquilla

Lunatics Kirsten Shelton, Mónica Cervantes & Eduardo Zuñiga. Photo by Jonathan Mackoff.

The irrepressible, glass-wearing, fierce friend Moniquilla is back with her friends Matias and Veronica for another magically crazy adventure in the second year of the Luna Niños Family Series presented by Luna Negra Dance Theater. Last year had the trio up against the evil Nico, but with a little help from the audience and a lot of laughter, he turned into one of the good guys. This year Moniquilla enlists his help to find a missing Matias in Moniquilla and the Moon Monster.

The original Moniquilla story (Moniquilla and the Thief of Laughter) was the brainchild of Luna Negra Artistic Director Gustavo Ramírez Sansano for Titoyaya Dance Project in 2008. This year’s installment is written, directed and choreographed by company member Eduardo Zuñiga. He also created the soundscape and set design working with illustrator Patricia Marín Escutia and lighting designer Jared B. Moore. With a running time of an hour, this is the first full-length production with Zuñiga at the helm. Sansano liked the work Zuñiga made for the company’s in-house choreography showcase last at the MCA, Luna Neuva, as well as his work for DanceWorks Chicago‘s Dance Chance and wanted to give him a shot at developing the Moniquilla storyline. “We used to joke in Spain that the next one would be in space,” said Sansano. “I didn’t know how to do it, but Eduardo figured it out.”

Zuñiga, 27, is up for the challenge. He’s a natural running rehearsals at their State Street studio and flashes a mischievous grin when talking about the show. He won’t give away all the secrets – there is, of course, a surprise plot twist! – but will divulge the action revolves around an alien and The Book of Magic. Injuries to company dancers may force him to jump in and perform, but for now, he’s enjoying working with his peers on this contemporary, family-friendly tale of magic, friendship and fun.

Illustration by Patricia Marín Escutia.

Luna Negra Dance Theater presents Moniquilla and the Moon Monster at the Ruth Page Center, 1016 N. Dearborn, Friday, Nov. 30 at 7 pm and Saturday-Sunday, Nov. 1-2 at 3 pm.

Tickets are $15; visit www.lunanegra.org or call 312.337.6882.

 

Luna Negra’s “Reunion”

Luna Negra dancer Eduardo Zuniga in Fernando Melo's "Bate". Photo courtesy of The DeBartolo Performing Arts Center.

In honor of Hispanic Heritage Month, this Saturday, October 13, Luna Negra Dance Theater brings a three-work program to the Harris Theater. The shows title, Reencuentros, or “reunions”, is just that on several levels. A revisiting of Fernando Melo’s 2005 work Bate, which the company performed in 2010; a reuniting of Melo with the Luna dancers for collaboration; and a return to choreographic roots for Artistic Director Gustavo Ramírez Sansano. His new work 18 + 1 anchors the performance between Melo’s earlier Bate and a current collaboration with the company. “Last year was the 18th year of my work, since I started putting things on the stage,” Sansano says. “Last year wasn’t the right moment, so the ‘plus one’. I wanted to make a point with 18, because that’s when you’re a grown up.”

Also growing up is Luna Negra, the company. This season, ten contracted dancers, plus nine apprentices are on the roster, creating a strong foundation to expand and explore. Unfortunately for audiences, veteran Luna performer Veronica Guadalupe will dance her final show with the company on Saturday, although she will still act as rehearsal director. Sansano has been planning this show for a while. “When I talked to Fernando to do Bate (in 2010), that was an introduction of his work to get to the point we are at now,” he says from the Ballet Chicago studios on State Street. “That was the first meeting, now is the re-encounter.”

The Brazilian-born Melo, is currently a dancer, choreographer and rehearsal director at GöteborgsOperans Danskompani in Sweden, while also traveling the world setting his works – a job, he admits, leaves little time for sleep. “Life gets a little busy sometimes,” he says. “I work every day until 6:00 p.m., then my other job starts. I’m a night person, so I get a lot done in the evenings.” Melo took six weeks off to come to Chicago and work with Luna Negra (he’d been here for five when I spoke with him earlier this week). His assistant/repétiteur Stephan Laks and set/costume designer Markus Pysal came with him to aid in resetting Bate and creating Walk-In. The world premiere is finished aside from last minute tweaking. “With a collaboration like this, it’s not ready when you can’t put things in anymore, it’s ready when you can’t take anything else out.”

The title Walk-In, also has multiple meanings: a walk-in closet (“the dancers have to walk into the set for the action to begin”), as well as the new age meaning of when a soul or spirit departs a body and is replaced by a new one. Melo says the initial departure point for starting the collaborative in-studio process was the mundane routines of everyday life. “The theme has been, not only the routines, but the mental state or the emotions that are behind our daily routines. What is actually going on in our mind, while we’re in the midst of our daily routine.” he says. “The mundane itself may not be very exiting to put on stage, but what lies behind those activities, I find very interesting. It’s a very human piece.”

While Melo digs into the meaning behind the ordinary, Sansano goes for the simple.”This one is going back to basics,” he says of 18 + 1. “It’s just music and dance. The celebration, for me, is the perfect marriage between dance and music, where both of them make each other. We give sight to to music and the music gives us sound for our bodies.” His trademark humor, detailed nuance and lightening fast moves are on full display here.

Sansano couldn’t be happier working with Melo, who he says will definitely be back to work with the company in the future. “I’ve seen the process and it’s [Walk-In] probably, I believe, the best creation for the company,” says Sansano. “It shows how we’ve grown in a real way. Everything was a process and we wouldn’t have gotten here if it weren’t for everything we’ve gone through. It’s the result of these two years of work. It’s like, ok, we’re here.”

Catch a sneak peek into the rehearsal process:

Luna Studio: Reencuentros

Luna Negra Dance Theater presents Reencuentros, Saturday, October 13 at 8 pm at the Harris Theater, 205 E. Randolph. Tickets are $25-$65. Call 312.334.7777 or visit www.lunanegra.org.

American Rhythm Center to Open Doors Soon

Rendering of the American Rhythm Center's reception area.

Lane Alexander’s dream of a shared-space, communal arts building is finally coming true.  The American Rhythm Center (ARC), located in Chicago’s Fine Arts Building at 410 S. Michigan Avenue – former space of the Boitsov Ballet – will launch its first stage in a few weeks.  On the third floor of this cultural institution will be three new multi-use studios to be shared by nine local mid-sized arts organizations.  Alexander’s Chicago Human Rhythm Project (CHRP) will be the first to use the space for the upcoming Rhythm World Festival 2012 later this month with a grand opening with the resident partners coming this fall in September.

The collaborative space will be shared by community partners Cerqua Rivera Dance Theatre, Chicago Chinese Cultural Institute, Chicago Youth Symphony Orchestra, Giordano Dance Chicago, Kalapriya, Luna Negra Dance Theater, Ping Pong Productions and River North Dance Chicago.  “One of the things that’s appealing about ARC is that we’re helping to build cultural infrastructure,” said CHRP’s new Executive Director Frank Sonntag.  “To have a healthy ecosystem, you can’t just pay attention to the top, you have to pay attention to the middle and create entry points for artists.  That’s what we’re doing and I think it’s important.”  Sonntag, 50, boasts a long career in arts administration with stints at the Kentucky Center for the Performing Arts, Dance St. Louis, David Parsons Project, New York Foundation for the Arts, Broadway Cares, Brooklyn Center for the Performing Arts as well as helping open the Cowles Center for Dance and the Performing Arts in Minneapolis last fall.  He’s only been in town a month and is already in love with the city and excited about this new venture. “It’s very much born out of the idea of collaboration,” Sonntag said.  “What is going to make it work is that collectively the offerings we’ll have are much greater than any one of us are and that will give us market penetration that all of us will have.”

The plan for ARC came out of CHRP’s strategic planning process and with Alexander on board it was only a matter of time before it became a reality.  Approximately $1 million has already been raised and a capital campaign is in the works to raise the estimated $2.5 million needed to complete the other two phases of the project which include administrative facilities, additional space for programming and a black box theater.  Shared performances have gained ground in recent years with many smaller experimental companies presenting together at independent venues and with Audience Architects’ MetLife Fund New Stages for Dance Initiative pairing mid-sized companies at larger venues.  This shared-space facility takes sharing to a whole new level.  “It’s a new model based on the strength of collaboration,” said Sonntag.  “Medium-sized dance companies in particular are under-capitalized, not just here, but all over the country.  What happens when resources are tight is organizations cut programs, the cut marketing budgets, they cut educational outreach and the audiences dwindle.  It’s a downward spiral that can be debilitating.  What ARC will do is to enable these companies to expand their community outreach, be more financially stable through earned income sources and potentially grow their audience.”

As contractors race to make sure the three studios are ready for class by the end of the month, Sonntag feels they are in a good place and is ready for the challenges ahead.  “We’re going to take baby steps.  We’re going to share a copier,” he said.  “The real goal is taking advantage of the synergy that you create when you put that many arts organizations in such close proximity.  That will cut down on some of the barriers that exist.  It’s the wave of the future.”

Luna Negra Dance Theater: Luna Nueva

Luna Negra dancer Eduardo Zuniga in "En Busca de". Photo by Nathan Keay.

Luna Negra Dance Theater opened a run of their Luna Nueva program last night at the MCA.  Fast, frenetic, interesting, architectural, strange, wonderful and expertly danced.  You still have three chances to catch the three new works for the company by talented choreographers Gustavo Ramírez Sansano, Diana Szeinblum and Mónica Cervantes.

Here are some of the reviews for last night’s performance:

Chicago Sun Times, trailorpilot, Chicago Tribune

Luna Negra Dance Theater presents Luna Nueva at the MCA Stage, 220 E. Chicago Ave., through Sunday, June 10th.  Tickets are $28 ($22 for MCA members).  Call 312.397.4010 or visit www.mcachicago.org/performances.

Preview: Luna Nueva

Luna Negra dancer/choreographer Mónica Cervantes. Photo by Jonathan Mackoff.

A man sits on the floor as three women take turns forcing themselves, crawling, pulling and pushing through the space between his body and arms.  Beside him another man sits with his arms overhead as three people crawl over his shoulders and down to the floor like a human waterfall.  This is a glimpse of the early stages (as in day two!) of a world premiere being created on Luna Negra Dance Theater (LNDT) by Argentinian choreographer Diana Szeinblum.    “Elbow, there, fuerte”, she says from the front of the studio.  Szeinblum’s new work Brasilia will be featured with a world premiere by Luna Negra dancer/choreographer Mónica Cervantes, Requiem, and the U.S. premiere of Artistic Director Gustavo Ramírez Sansano’s 2008 work En Busca de (In Search of) at the MCA Stage this weekend as the company presents Lune Nueva, a new initiative exploring unconventional movement styles.

Sansano originally created his work for IT Dansa in Barcelona in honor of one of his teachers that had recently passed away.  “I learned a lot from her and really experimented in that piece,” he says from LNDT’s State Street studios.  “You know that feeling when you’re excited of what’s coming, but you don’t know what it is, so you’re anxious?  She crafted anxious.  En Busca de is about the momentum of your life.”    Cervantes premiere for six dancers explores the idea  pathways set to a classical score of Mozart and Shostakovich.  Read a great preview of her piece  by Johnny Nevin at 4dancers.org here.

Szeinblum, a dancer/choreographer/actor who started dancing at age six, studied at the Ballet of San  Martin Theater in Buenos Aries and at the Folkwang Tanz Schule in Germany under the direction of Pina Bausch.  She founded her own company – Diana Szeinblum Dance Company – in 2000.  Sansano helped translate our interview two weeks ago at the beginning of her rehearsal process.

RB:  What was it like working with Pina?

DS:  It was so nice. (laughing) Interesting.

GRS:  What was so impressive for her about Pina, is she’d take every detail like it was the first time.

DS:  She was incredible.  I worked with her and Susana Linka…this marked me.

RB:  I read that you call your dances plays.  Can you talk about your process?

DS:  I always take things from the people an dI say that this, for me, gives the truthfulness to the work, my work.  The thing for me is to find in the dance the kind of truth that actors try to find.

RB:  Do you stars with a story you want to tell or a concept and give that to the dancers?  Do you use a lot of improv?

DS:  Improv.  Generally, I need to understand where I am.  To create first a place or atmosphere.  This gives me my limit to start to put all things in this place.  For me, this is the most important thing to find.

RB:  I know you’ve only been here one day, but for this specific piece, did you know what it was going to be or do you need to work with the dancers first?

GRS:  This is a specific situation, because of time, she has to use a concept.

DS:  To find it very fast.  I think I live in a strange place, so I think I can…I will do something personal.

GRS:  The way she works normally with the dancers…everything comes out of them.  The story at the end is them, but because it’s such a short time, it’s going to be something personal.

RB:  You only have two weeks.  How long do you normally work on a piece?

DS:  In Argentina, we don’t have money, we don’t have producers, no one will say ‘ok, come on, do it’  This is the only thing that is great for us – that we really have time to do our work.  Sometimes it’s four months, sometimes one year.D

RB:  How are you changing the way you work to fit the tight time frame?

DS:  I have a lot of images.  The thing I have to construct how my images go together in this work.  The are very nice dancers, very technical dancers.  I’m not used the having such technical dancers.  I’d really like to try more technical things, but I don’t have a lot of time.

GRS:  It’s a different way of working for the company.  That’s part of this program (Luna  Nueva), to let the dancers have a completely different experience.  The were telling me how much fun they had yesterday.   Every time you have a new choreographer, it’s a different process.  It’s a wonderful experience for us.

RB:  How did you find Diana?

GRS:  My search. (laughing) My encyclopedia of Latino choreographers.

DS:  Where is this encyclopedia?

GRS:  I made it!

RB:  Do you have an idea of what this piece will be about, or is it too soon to talk about it?

DS:  I’m trying to create things that speaks about layers.

Luna Negra Dance Theater presents Luna Nueva at the MCA, 220 E. Chicago Ave., Thursday-Sunday, June 7-1- at 7:30 p.m.  Tickets are $28.  Call the MCA Box Office at 312.397.4010 or visit www.mcachicago.org

 

 

 

Chicago’s Got It Goin’ On

No one needs to tell me how fantastic the Chicago dance community is, however, some of our top peeps are getting recognized for their fabulousness!

Congrats to Glenn Edgerton, Artistic Director at Hubbard Street, for being named a Chicago Tribune “Chicagoan of the Year” by the astute Sid Smith.

Props go to Ana Lopez (Hubbard Street), Carrie Hanson (The Seldoms) and Gustave Ramirez Sansano (Luna Negra) for making Dance Magazine‘s “25 To Watch” for 2012.  In the same issue, check out a great piece on dance unions – Sweating the Small Stuff –  by Time Out Chicago dance editor Zac Whittenburg.

Adventures in Dance

"Moniquilla and the Thief of Laughter". Photo by German Anton.

This weekend, two local dance companies are staging children’s shows set to entertain both kids and adults alike.  Hubbard Street Dance Chicago‘s (HSDC) second company, HS2 brings back last year’s hit Harold and the Purple Crayon at the Harris Theater and Luna Negra Dance Theater (LNDT) launches its children’s dance series Luna Niños with the Chicago premiere of Monaquilla and the Thief of Laughter at Stage 773.  Both one-hour performances are interactive, incorporate video projections and designed specifically for young audiences.  Ticket for both shows are $15.

HS2 premiered Harold in 2010 at the Kennedy Center in Washington, DC and then to packed houses here in Chicago (read my preview here).  This year’s show based on the beloved children’s book by Crockett Johnson promises a new cast and vamped up lighting design (Mattew Miller) to compliment the sets and projections (Ryan Wineinger) and costumes (Rebecca Shouse).  Chicago composer Andrew Bird provides the music with HSDC dancer Robyn Mineko Williams and HSDC Artistic Associate Terence Marling choreographing.

Moniquilla and the Thief of Laughter, which premiered in Spain with Titoyaya Dance Project in 2008, has its U.S. debut this Saturday.  Created by LNDT Artistic Director Gustavo Ramírez Sansano, Moniquilla is a mystery adventure styled after Scooby Doo and Indiana Jones (Sansano’s favorites as a kid).  Moniquilla enlists the help of her friends Matias and Veronica to help her find out why the children across the world can’t laugh anymore.  A narrator and video projection/sets by Luis Crespo help the story along, but it is the audience that ultimately must solve the mystery.  A bicycle with sidecar, swinging axes, snakes (egads!), spies, and of course a villain add to the story set to a dramatic score including Prokofiev’s Dance of the Knights from Romeo and Juliet and classical flamenco music.  “It was a  good chance to use music that I loved, but never found the right fit for,” says Sansano.  “When I was thinking about the music, I thought a lot about Walt Disney.  He used to make all the soundtracks for the movies.  Every single movement was in the music.  It was real choreography.”  Just because it’s for kids doesn’t mean this choreography is simple.  Sansano’s trademark style involving fast, quirky movements with seamless transitions is on full display along with some slapstick moves reminiscent of the Keystone Kops.  I sat in on a run of the first half of the show last week and I can’t wait to see how it ends!  It’s fun, funny, and as Sansano says, “a treat for the senses.”

Hubbard Street 2, Harold and the Purple Crayon, Dec 3&4 at 2pm

Harris Theater, 205 E. Randolph, 312,334,7777

Luna Negra, Moniquilla and the Thief of Laughter, Dec 3 at 10a & 1p, Dec 4 1&4pm

Stage 773, 1225 W. Belmont, 773.327.5252