Vision, Faith & Desire II at Pritzker Pavilion

Winifred Haun and Lizzie Leopold come together again to present Vision, Faith & Desire II: Dancemakers Inspired by Martha Graham inside on the stage at the Pritzker Pavilon this weekend.

Starting tonight, Haun and Leopold revisit works from the original Vision program that had enormous success in September 2013 (preview here). This time around, they are joined by Randy Duncan, who will present his award-winning solo Love Not Me and Jeff Hancock, who will dance a solo he choreographed titled Quilting Martha.

Vision, Faith & Desire II, Thursday – Sunday, Feb. 6 – 8 at 7:00 pm. at the Pritzker Pavilion in Millennium Park. Tickets are $15, purchase here.

Dancer Spotlight: Abigail Simon, Dance For Life

Dancer Abigail Simon. Photo by Gina Uhlmann.

This Saturday, Aug. 18, marks the annual dance performance, Dance For Life, that raises money and awareness for HIV/AIDS prevention. Proceeds from this year’s benefit will go to the AIDS Foundation of Chicago, the Dancer’s Fund and Chicago House. Always a highlight of the show are two world premiere finales, Act I by Harrison McEldowney and Jeremy Plummer/C5 and an Act II finale by Randy Duncan. Participating companies include DanceWorks Chicago, Giordano Dance Chicago, Hubbard Street Dance Chicago, River North Dance Chicago and Thodos Dance Chicago. Also performing this weekend are independent artists Mauro Villanueva and Abigail Simon.

Simon, 27, was born in New York to a director/actor father and an opera singer mother. The family was bi-coastal spending time split between NY and Los Angeles, where she started dancing at age three. At seven, back in NYC, she studied for three years at Ballet Hispanico and at ten, was accepted to the School of American Ballet (SAB), where she studied for ten years. She danced with American Ballet Theatre‘s second company (ABT II) for two years and with the main company for another two years. “I learned so much there,” she said. “I knew that because I came from SAB and because I hadn’t had much classical training that I needed to go to a smaller company to get my wings.” Joffrey was holding auditions in NYC, she auditioned and spent the next seven years dancing with them here in Chicago.

Some may recognize her from her extremely perky performances as Clara in The Nutcracker, but some of her favorite roles from her time at Joffrey are the virtuoso pas Balanchine’s Tarantella and Valencienne in Ronald Hynd’s The Merry Widow. Simon has only performed in Dance for Life one other time when she was part of Harrison McEldowney’s finale in 2011. This year, she partners with former Joffrey dancer Villanueva for the pas de deux from Le Corsaire, a gala favorite. “We’re excited,” Simon said. “It’s pure classical. It’s got tricks!”

Simon recently left Joffrey to pursue a freelance career. “I’m going to miss that family feel and being on the road,” she said, “but when I told them I was leaving, it felt like the chains coming off. You’ve got to trust your instincts and follow your heart.” So far, she’s kept busy dancing with Ballet Next, coaching students for the Youth America Grand Prix, modeling for Bloch and Revolution Dancewear. She has modeling gigs set with Capezio and Custom Barre and auditioned for Christopher Wheeldon’s new Broadway project An American in Paris. She’s also up for a lead role in an upcoming movie with actress Sean Young set to film next year in Venice, Italy. (Rumor has it people affiliated with the film will be at the show on Saturday. Perhaps if we clap extra loud, she’ll get the part!)

Simon said it is easier to find consistent work as a freelance dancer in New York, so she and her boyfriend are getting a place there too and will be splitting their time. “I’m excited,” she said. “I’m very open. It took me a couple of years to figure out, but if you’re positive and open to change, good things can happen. Just get on the horse and start riding. I’m so happy.”

Dance for Life at the Auditorium Theatre, 50 E. Congress Pkwy., Saturday, Aug. 17 at 8 pm. Tickets for the performance only are $50-$75.

A pre-performance gala reception will be held in the International Ballroom of the Hilton Chicago, 720 S. Michigan Ave., at 5 pm. Gala tickets (which include a ticket to the performance) are $200-$500.

For more information, call 312-922-5812 or visit danceforlifechicago.com.

Dance For Life Artist Spotlight: Lizzie MacKenzie

Dance For Life performer Lizzie MacKenzie.

“I love dance,” she said, eyes glistening with tears.  Meet Lizzie MacKenzie – a petite, blonde whose energy and blue eyes light up the room.  At 33 she has already lived lifetimes in the dance world.  When she was 12, she joined a friend for “Bring a Friend to Dance Day” in Toronto, Ontario and was hooked. “It was immediate,” MacKenzie said. “I got to kick my legs and spin around the room.  I didn’t know what I was doing, but I loved it.  From the first class I took, I knew it was what I was going to do forever.”

Since that fateful day, she graduated from Interlochen Center for the Arts, danced on scholarship and as an apprentice for Giordano Jazz Dance Chicago (now Giordano Dance Chicago – GDC) before joining the company for five seasons, studied in New York City and Los Angeles, danced with River North Dance Chicago (RNDC) for six years.  She started Extensions Dance Company while still dancing with RNDC and after “retiring” opened Extensions Dance Center.  She is also on staff at Chicago High School for the Arts, Visceral Dance Studio and Steps Dance Center (Naperville), and choreographs and performs as a freelance/independent artist.  If you’ve seen dance in Chicago in the last decade or so, you’ve seen her.  And, if you have seen her, you won’t soon forget it.  She radiates joy from the stage.

This Saturday, MacKenzie joins fellow Chicago dancers to perform in the 21st annual Dance For Life (DFL) at the Auditorium Theatre.  Dance For Life is a benefit dance performance bringing together local companies and artists for a one-night-only show to raise funding for the AIDS Foundation of Chicago and the Dancer’s Fund.  She’s performed in so many past DFL shows that she honestly can’t remember how many.  We settled on at least ten, where she participated in the finale choreographed by Randy Duncan (and one by Harrison McEldowney).  This year is no exception. MacKenzie dances in one of Duncan’s infamously difficult closing numbers and will be performing with Ron De Jesús DanceRB met MacKenzie at her studio to discuss her career and this year’s show.

What brought you to Chicago?

Nan Giordano came to Interlochen and taught a Master Class.  She offered me a scholarship for the school in Chicago.  I told my parents that I wasn’t going to go to college. They were always good about that, but they told me if I was going to be a big girl, then I was going to be a big girl and they were cutting me off.  ‘If you’re not going to do college, you’re going to support yourself.’  Literally two weeks out of high school I moved to Chicago.  I went on scholarship at Giordano Dance Center, lived in somebody’s attic without a kitchen and worked two jobs.  I wouldn’t recommend it, but it’s definitely helped form who I am. It worked for me.

Since you’re “retired”, how do you stay in fighting shape?

I use the term very loosely. I’m not retired, but I felt like it was time to retire from full-time work.  Sustaining a relationship isn’t easy.  (She’s newly engaged to chiropractor Michael Pontarelli – “Dr. Mike”.)  Not that I have that much time now, but I have more.   I’ve been freelancing.  I’m dancing with Ron (de Jesús), dancing in the finale, in Wade Schaaf’s new company Chicago Repertory Ballet, I’m going to do some work with Ahmad (Simmons) and Brandon DiCriscio. I manage to fill my time up.  I commit myself to two classes a week.  I try for three.   I try to get in whenever I can.  I teach a lot. 

You started the youth company while you were still in Rivno.  Have you always wanted to have a company?

I definitely always wanted to have a youth company. If you’d asked me a few years ago, I would’ve told you that I wanted to have a dance studio.  That changed when I was teaching so much and realized how much stuff comes along with that.  So I started the youth company, because I left a studio and a couple of kids came with me and they wanted to perform.  We needed a name and I said, “It has to be Extensions”, because that was what I was going to name my youth company, I just didn’t think it was going to happen now. I thought that would be when I was done dancing.  It started out with four girls in 2005.  I just started “Extensions Too!” And that’s for ages 8 to 11.  That was a new experience this year.  That’s why we opened the studio.  It was just a natural progression.  There was no way I could do the things I wanted to do.  I was renting space.  This is great – now I have constant access. 

 You have such a wonderful stage presence.  How do you teach that – or can you?

I have a really genuine and innate love for the art form.  I love what it has done for me.  I feel it has really brought me out of my shell.  I believe in dance as a means to communicate and movement as a means to communicate.  I’d say some really important things I try to instill in the kids to help them understand that is the love of the art form and a really open state of mind.  We work a lot on being open. We improv a lot.  We do a lot of things that allow them to really open their minds and see more. Harriet Ross once told me that every time she saw me dance it seemed new.  It always looks new.  And it always feels new.  Even today in ballet class, every thing feels new.  It’s not just another plie to me.  It’s the investigation.  A simple plie to me is amazing.  The body is so amazing and the possibilities are amazing.  From feeling the air around my skin to seeing the space with my eyes or feeling my back…the investigation of movement is fascinating to me and brings me a lot of joy. 

How is working with Ron?

I love being in process with him.  This is my third time – once w/ GDC, but twice as an independent dancer and older artist.  I love working with him.  I feel like there’s a nice balance between him appreciating who I am or who each artist in the room is as an individual, but still having a clear enough vision of what he wants that he’s able to mix them nicely.   He doesn’t down you if you make a choice that he wasn’t thinking.  He’s able to appreciate your choices, but make sure you’re meeting his vision too.

The show itself is such a community effort.  What’s dancing in the finale like?

It’s great.  I’ve never felt any stress.  This year is definitely my hardest.  The finale might be the hardest thing I’ve done in my whole life. The thing is, when you go on stage for “Dance For Life”, it’s a different feeling.  You know what the audience’s intention is for being there.  Of course, you’re a little nervous because you put an expectation on yourself, but for some reason when you step on stage, you know that even if you mess up, it’s ok.   When I’m on stage at “Dance For Life” I feel warm. I feel good.  The process is always a little daunting, because it isn’t a lot of time.

I’ve heard many dancers over the years say that Randy’s finales are always the hardest things they’ve ever done.  Why?

I think he really likes to challenge his dancers.  He has a lot of respect for the dancers he chooses and he really likes to push them, particularly physically.  It’s all in a deep, deep plié and a deep contraction.  Honestly, you don’t a lot of work like that these days.  And the cardio of it all, that’s the killer.  I literally thought I was going to throw up.

What’s in your future?

It’s always worked out for me that my future becomes very clear as I continue on my path.  Of course, I look back and think, I could’ve done this.  But I’m happy with my path.  There’s only “x” amount of years to live.  You can’t do everything.  I think I’m just going to keep doing what I’m doing.  Hopefully things will continue to grow.  I don’t want the youth company to get too much bigger.  I think we’re able to produce the quality we have, because it’s small.  The open classes have been going well.  I’ll keep dancing until I can’t anymore.  Maybe have a kid.  I really want to have babies, so that will happen sooner or later. 

Dance For Life at the Auditorium Theatre at Roosevelt Universtity, 50 E. Congress Pkwy. Saturday, August 18 at 8 pm.  For ticket information, visit www.danceforlifechicago.com.

 

 

Autumn in the City

Autumn Eckman in the studio. Photo by Mike Canale.

I’m not talking about the turning leaves, chilly weather and shorter days, but dancer/choreographer Autumn Eckman.  An artist that has danced with Giordano Jazz Dance Chicago (GJDC), Hubbard Street Dance Chicago, Luna Negra Dance Theater, Lucky Plush Productions, Ron De Jesús Dance, as well as choreographed for Instruments of Movement, Inaside Chicago Dance, Northwest Ballet Ensemble, Indiana Ballet Theatre, just to name a few.  She’s also on faculty at Northern Illinois University, teaches at a number of area studios and serves as Artistic Associate and Rehearsal Director for GJDC and Director of Giordano II.  To put it mildly – Autumn, 34, is everywhere these days.

This weekend at the Harris Theater, Eckman will premiere a new work, Alloy, as GJDC takes the stage for its fall engagement.  The first performance of the 2011-2012 season titled Passion and Fire will showcase seven numbers including two premiere, one of which is Eckman’s.  Other pieces include Gus Giordano’s signature work Sing, Sing, Sing (1983),  last season’s ballroom hit Sabroso (2010), former GJDC dancer Jon Lehrer’s Like 100 Men (2002), a restaging of Davis Robertson’s 2005 work Being One, a world premiere by Kiesha Lalama and Eckman’s Yes, and…! from 2010.

I talked with Eckman over the phone last week as she was walking to rehearsal about her process and her inspiration.

You’re a busy lady.  What is a typical day for you?

A regular Giordano day?  They start class at 9:30 and we rehearse until 4:00pm.  Usually I’m off teaching class somewhere in the evenings.  In addition to choreographing, rehearsal directing, mentoring and guiding the second company, I’ve also been rehearsal directing the first company in preparation for the upcoming shows and tours.  For this concert, I’m helping get six pieces up and running, cleaned and polished and rehearsed.  It’s a big task, but fun.  

Who are your choreographic influences?

I take a lot of inspiration from books.  I draw my influence off of the vocabulary of the dances that I’ve done with each different company.  It’s so ingrained in my body that I try to make it my own and formulate my own style.  I love all the choreographers from my time at Hubbard Street -  Nacho (Duato), Ohad (Naharin), (William) Forsythe, but I also love jazz choreographers.  Randy Duncan has been a big influence.  I love Harrison McEldowney.  I have been inspired by the work and working with Robert Battle. Other dancers include the great entertainers of our time: Gene Kelly, Fred Astaire. I grew up watching their films along with the works of Busby Berkley. I was obsessed with his pattern making for film and dance.  In terms of the dance itself, I am often inspired by the way a writer would write or compose a song for start to finish: the verse, the chorus, the bridge, etc. I aspire to make dance the way a good song takes you on a journey.

When you choreograph something, what is your process or does it change?

I write everything down.  I could own stock in Post-It notes.  Everything is kind of disorganized, but if I have an idea, I grab a pen and write it down or if I see something, I’ll write down something…like a couple walking in the park.  Then I’ll hear a piece of music that will, in my mind, fit the idea.  It’s kind of like playing match up.  I have these really diverse ranges of music that I know I want to eventually use and finding what matches it and trying to build a story to it.  Sometimes it’s about the movement.  I like moving for movement’s sake as well.

For your premiere, Alloy, what was the impetus for it?

KRESA (Kalamazoo Regional Educational Service Agency) had asked me to choreograph a piece.  They asked for a duet.  I was really excited.  I hadn’t pushed myself to see how strong my work was in that aspect.  It’s a mixture.  I researched the word alloy and then it took on this metallicy, liquid kind of tone.  Two people that will do anything to be with each other, be one…a blend.

So the idea, the word and the concept came first and then you added music?

Yeah.  I wanted to try classical piano…listened to a simple score and see how that worked.  I knew I wanted to use soft, simple music.  Sometimes I think less is more.

You reworked it for GJDC.  How has it changed – or has it?

Nan (Giordano) had seen the dancers rehearsing.  She approached me and said she wanted it for the fall concert.  Can we add this to it?  Can we have these two dancers (Devin Buchanan and Ashley Lauren Smith)?  She loved the look of their body types together and thought they’d be a great partnering. Turns out, they are great together. They have great chemistry and it took on a sexier, really stripped down tone.   It really came all about their sensuality, their body and their movement and how they…even one touch, how that reacts to each other.  It took on a deeper, more personal tone when I worked on it the second time.  I’m extremely happy with the results.  It’s always my goal to see where jazz dance is going and how to push boundaries of what jazz dance is.  I think this is just another direction – for the company as well.  Another boundary being pushed.

Giordano Jazz Dance Chicago, Oct 21 & 22 at 8pm

Harris Theater, 205 E. Randolph, 312.334.7777