Category Archives: Review

Joffrey Ballet’s Othello 2.0

Posted on by
1

Joffrey dancers April Daly and Fabrice Calmels in "Othello". Photo by Cheryl Mann.

O, beware, my lord, of jealousy!

It is the green-eyed monster which doth mock

The meat it feeds on.

Othello: Act III, scene iii

Nobody does drama like Shakespeare. The Bard, who had a birthday this week, adapted the story Othello from a 1566 work by Geraldo Cintio and in turn, Lar Lubovitch, who just turned 70, adapted the tale into movement for the dance stage. Add in an original, chilling score by Oscar-winning composer Elliot Goldenthal and the incomparable opening night cast of Joffrey Ballet principals and you have something extraordinary. Last night, Othello: A Dance In Three Acts, the story, the choreography, the music and the cast all came together in a perfect spiral of love, deceit, beauty, betrayal and death. Joffrey performed this ballet in 2009 to great reviews, but the second time around is even better.

The story. Although Lubovitch doesn’t directly follow Cintio or Shakespeare’s versions, the essence of the story is embedded in his movement. Ballet steps get a contemporary twist with a flexed foot, bent arm or parallel leg. Corps scenes take an ominous edge with twitchy, staccato moves. Each principal’s character is revealed in everything they do. The simple turn of a head or placement of a hand relates the intention in a second. The dancers don’t have to act for the story to be told, yet this cast acted their roles to perfection.

The choreography. For me, Lubovitch’s genius lies in the intuitiveness of his partnering. Sweeping, circular lifts with unexpected holds float to the floor and back up again with amazing fluidity. The strength required for most of his partnering is immense, yet the dancers never look taxed.

The music. Dark and dangerous like the plot, this music isn’t your typical ballet score. Loud timpani drums, saxophone, and oboe punctuate the lighter notes of the marriage pas de deux. Iago’s sharp, thrashing solo is all but dictated by the angry horn section’s shouts. The Act II tarantella speeds to its conclusion carrying the storyline along with its pace. A few Psycho-esque moments let us in a fracturing mind that’s ready to kill. The difficult score was beautifully played by the Chicago Philharmonic Orchestra led by Scott Speck.

Joffrey dancers Fabrice Calmels and April Daly in "Othello". Photo by Cheryl Mann.

The cast. This cast. The originals. Bravo for bringing back the five original principal dancers. Fabrice Calmels (Othello), April Daly (Desdemona), Matthew Adamczyk (Iago), Valerie Robin (Emilia), and Aaron Rogers (Cassio) were completely committed to their characters as if letting them simmer and age for four years made them exquisitely ripe. Calmels was strong, fierce and frightening, cutting an imposing, yet ultimately fragile figure on the stage, his solos impassioned and impressive. Daly made an impression with her first solo (the “Look, he gave me a hankie!” dance) with her bourrees as fast and light as butterflies and beveled extensions to the skies. The two together created something magical with her tiny, delicate, light frame next to his tall, chiseled and dark body. I really can’t say enough about how beautifully these two dance together. Adamczyk personified evil, lurking on the edges spider-like, then creeping in to weave his tragic web with one raised eyebrow revealing the murderous thought in his head.  Robin, a seriously strong dancer, played the battered wife role with aplomb. You have to be that strong to be thrown around like that and make it look easy. Rogers, always delightful, brought his precise technique and ballon to his wrong-place-at-the-wrong-time role. Stacia Holden stood out as the sassy Bianca and special shout outs to Mahallia Ward, Amber Neumann and Michael Smith for their extra reckless abandon in the tarantella.

Cast, composer, conductor and choreographer were all on stage for the ovations and applause, recognition for a job more than well done. This is your last chance to see Lubovitch’s Othello, as it is being retired from Joffrey’s active rep. There are nine performances left. You should get your tickets NOW.

Joffrey Ballet presents Lar Lubovitch’s Othello at the Auditorium Theatre, 50 E. Congress Pkwy. through Sunday, May 5. Performance times vary. Tickets are $31-$152; call 800.982.2787 or visit joffrey.org.othello.

Hubbard Street + LINES Ballet: Review

Posted on by
Reply

Hubbard Street & LINES Ballet dancers in Alonzo King's "Azimuth". Photo by Margo Moritz.

What happens when two very different top contemporary companies combine talents for a much-anticipated joint appearance including a premiere commissioned by the Harris Theater in honor of its 10th anniversary and funded in part by a grant from the Joyce Foundation? You get an amazingly danced, slightly overwhelming, long-ass show. Last night Hubbard Street Dance Chicago and San Fransisco-based Alonzo King’s LINES Ballet took the stage for the Chicago premiere of a new collaborative work by King presented with an older work (Rasa) from King and a work by Hubbard Street resident choreographer Alejandro Cerrudo. As the culmination of a years-long process that included a three-week residency at the University of Irvine and the world premiere collaboration of Azimuth, it is a historical dance feat, for sure, but this felt like a LINES Ballet show with Hubbard Street as mere guest artists.

King has a unique approach to choreographing, pushing the dancers to always investigate and make choices with their movement. This makes for interesting, ever-changing dancing, but at times proves tiring for the audience and with works pushing 40-minutes a piece, a little editing would go a long way. His philosophical base of construction is a bit too heady for my taste, but what he gets out of the dancers is astounding. His dancers are beautiful creatures with legs, arms and technique for days that move in a way that is uniquely King-created. There is something in the way they move their arms that is breathtaking. Courtney Henry, Keelan Whitmore and Michael Montgomery were stand outs in this super talented group.

As if thrown in as a quirky palette cleanser between King pieces, Cerrudo’s Little mortal jump offered lighter fare with its whimsical, theatrical humor. The ending duet between Jesse Bechard and Ana Lopez (my favorite part) is usually clouded in dark, foggy lighting that adds to the ethereal quality of the slow-motion duet. Last night’s lighting was much brighter (showing dancers behind boxes, the couple exiting upstage, etc.) losing some of its magic.

Obviously, with King choreographing the new work, the LINES dancers were at an advantage, but the fact that Azimuth looked like another all-LINES piece is a testament to the Hubbard Street dancers’ chameleon-like talent to assimilate. Some adapted quicker than others – Jacqueline Burnett, Johnny McMillan and Kellie Epperheimer were all featured in solos.  Epperheimer was also featured in a soaring quintet aided by Hubbard Street men (Jonathan Fredrickson, Garrett Anderson, Bechard and David Schultz) that had her diving, floating, skimming, jumping and climbing around the entire stage. Yet, when all 26 dancers were on stage moving together, it was a lot to take in. The dancers I’ve spoken with all say it was an inspiring process and I’m sure they have all grown from it, while gaining new friends as an added perk.

Hubbard Street + LINES Ballet at the Harris Theater, 205 E. Randolph, through Sunday, March 17. Tickets are $25-$99; visit www.hubbardstreet.com or call 312.334.7777.

 

 

Alvin Ailey’s Ghrai DeVore

Posted on by
Reply

Alvin Ailey dancer Ghrai DeVore (front) in Jiri Kylian's "Petite Mort". Photo by Paul Kolnick.

Alvin Ailey American Dance Theater is making headlines this week with great reviews for their run at the Auditorium Theatre. This year marks the first time the company performs ten shows over two weeks to the delight of Chicago audiences. The main staple, Ailey’s 1960 Revelations never fails to get the audience on its feet and is looking as strong and fresh as ever. Newer works, such as Kyle Abraham’s 2012 Another Night and European contemporary works fill out the repertory showcasing the dancers formidable technique and physical talents.

One of the dancers with Chicago ties is the lovely Ghrai DeVore. Ghrai – pronounced “gray” – started dancing in Washington, D.C., but moved to Chicago when her mother joined Deeply Rooted Dance Theater. Miss DeVore  trained at the Chicago Multicultural Dance Center, then danced with Deeply Rooted 2, Hubbard Street 2 and DanceWorks Chicago before heading to New York where she was in the fellowship program at The Ailey School. She quickly obtained a position in Ailey II and after two years, she was picked by Judith Jameson to join the main company. She’s now in her third season.

RB had a quick phone chat with DeVore, who was getting over a bout of food poisoning and preparing for the second week of performances.  Here are her thoughts…

On her unique first name: My Mom told me it means “happy medium”, so when she was pregnant, she would be happy if the baby was a boy or a girl.

On working with Julie Nakagawa at HS2 and DWC: I wanted to be a part of whatever she was doing.

On a typical performance day on tour: We have rehearsals starting at 2:00 pm; an hour class at 5:30 pm, followed by an hour break; at 7:00 pm we are in the theater, putting on make-up and ready to go; show at 7:30 pm. If it is a matinee day, we have to be there at 10:00 am.

On dancing Jirí Kylían’s Petite Mort and Ohad Naharin’s Minus 16: I’m really interested in what’s going on overseas. With these works, I’m getting a taste of that.

On Ronald Brown’s Grace: It’s about your particular connection with God or whatever higher being you believe in and dancing for that higher being, because you were created for a purpose. It’s very spiritual, but I wouldn’t say it’s religious.

On dancing Kyle Abraham’s Another Night: It’s nice to have pieces you can really connect with. We can look at each other on stage and really express our love.

On performing the iconic work Revelations: Humbling. It’s amazing to do what so many people before me have done. We have to keep up the integrity. Every time I do it, it feels new.

On dancing the super-controlled “Fix Me, Jesus” duet in Revelations: Actually, it’s one of the easier roles, for me. I feel like I have more control when I move slower. I can give more value to each movement. It’s nice to come off stage and think, ‘Yeah, that’s what I trained for’.

Alvin Ailey American Dance Theater performs at the Auditorium Theatre (50 E. Congress Pkwy.) through Sunday, March 17. Tickets are $32-$92; call 800.982.2787.

Mordine & Company Diversify

Posted on by
Reply

Mordine & Company dancers. Photo by Cheryl Mann.

“I think of the audience as the other part of the art form. Without you, there is no art form,” Shirley Mordine said before her company’s shared program at Stage 773 Friday evening. Mordine & Co. took the stage along with flamenco group Clinard Dance Theatre in an interesting mix of dance diversity. Mordine said the idea came from attending Dance/USA conferences and noticing how another host city (San Francisco) showed a more diverse section of their city’s companies than Chicago did the year we hosted. Deeply Rooted Dance Theatre shares the bill for Saturday and Sunday performances.

Mordine’s 2011 Life Speak about the art of storytelling got a revamp with a larger, vibrant cast. The original cast had seasoned dancers that were earthy and grounded in the work. The 2013 cast, which bumped up from six to eight dancers, boasted a younger cast with solid technique that made interesting choices to make the work their own. The stage sounded like sandpaper (a dancer who had performed their previously said it was painted wood, no marley) adding an extra audible texture to the work.

Clinard’s From the Arctic to the Middle East (Broken Narratives by an American Flamenco Dancer) was a blend of traditional flamenco with contemporary flavor, plus live musicians, a singer and a voice over telling a poem or story. The dancing and the live accompaniment were at the top of their game, but drowned out the voice over, so it was difficult to tell what the story was about. The three women seemed to represent different emotions (angry, sad, lost?) in different stages of life. A swaying hug between two dancers seemed maternal and comforting only to have one break away and spin out of control. Wendy Clinard showed amazingly fast footwork in a brilliant solo.

After a brief intermission, Mordine & Co. took the stage for the premiere of All At Once/Acts Of Renewal. Press materials state the new work is about “…the ability and need to process a deluge of information in the digital age”. Dressed in white with the women wearing bright colored leotards underneath, the costumes might have represented white noise or the sense that with so much information coming at you, you really can’t hear it at all. A slow-motion sequence perhaps suggests we all need to slow down. The short piece needs to flesh out more of the themes in the movement for better clarity and unity. It felt more like a work-in-progress than a premiere.

Final show of Mordine & Co. with Deeply Rooted Dance Theatre is this afternoon at 3 p.m. Stage 773, 1225 W. Belmont. 773.327.5252.

Joffrey’s American Legends Review

Posted on by
1

Joffrey dancer Victoria Jaiani in Stanton Welch's "Son of a Chamber Symphony". Photo by Herb Migdoll.

Last night, the Joffrey Ballet opened a 10-performance run of American Legends at the Auditorium Theatre. History was in the air as legendary choreographers Jerome Robbins, Twyla Tharp and Joffrey’s own Gerald Arpino’s works took over the stage, but it was the newest work, Stanton Welch’s 2012 Son of a Chamber Symphony, that stole the show. Three stylish looks back and one big jeté forward to the future.

Robbins’ 1945 Interplay opened the show with a fast, flirty and fun piece showing the playfulness of youth. Dancers in colorful costumes zipped through the movement showcasing technical feats with huge, laughing smiles. Strong dancing from the entire cast with stand outs John Mark Giragosian performing four sequential double tours (move over OMG, new catchphrase is JMG!) and Cara Marie Gary whipping off a la secondé turns en pointe with the boys. After a short pause, Arpino’s 1962 Sea Shadow transported the audience to a secluded seaside and a dream of love. Young up-and-comers Jeraldine Mendoza and Dylan Gutierrez danced a lovely pas de deux in honor of the company co-founder’s 90th birthday year. (Happy bday Mr. A!) Her liquid bourrées enchanted, while his partnering proved strong and sure. Height difference made some of the floor work awkward, but these two will grow and thrive in these roles.

Joffrey dancer Aaron Rogers in Stanton Welch's "Son of a Chamber Symphony". Photo by Herb Migdoll.

Get in the DeLorian and fire up the flux capacitor because we are flying from the early ’60s to 2012 and beyond. Welch’s Son of a Chamber Symphony, created for and on the Joffrey dancers and set to music of the same title by John Adams, delightfully deconstructs classical ballet, turning steps, structure and the costumes inside out to create a fresh, exciting new form. Ballerinas undulate in slicing tutus hovering at the far edges of their technique. Men hang mid-air in leaps only to land and take off in a flurry of footwork. Three movements each feature a central – and stunning – pas (Amber Neumann and Matthew Adamczyk, Victoria Jaiani and Fabrice Calmels, April Daly and Temur Suluashvili) that take seemingly normal moves like a promenade and skew it on an extreme angle or by a surprising hold highlighting fierce female flexibility and ultimate trust in partnering. The square structure and choreographic edginess was reminiscent of William Forsythe’s In the Middle, Somewhat Elevated with obvious nods to classics like Swan Lake and Giselle, yet Welch takes the dancers natural talents and pushes them to new, exciting ends.

After Welch’s wonder, going back to 1982 for Tharp’s sultry and sassy Nine Sinatra Songs provided a bit of choreographic whiplash. The cast of seven couples lead by the dashing Daly and Calmels gleefully glided through the nine sections of jazzy ballet laced with ballroom chic. Each duet had its own characters and story to tell under a gigantic, twirling disco ball. Lucas Segovia, paired with Jaiani, shown with dapper, distinguished star power and technical chameleon Elizabeth Hansen never disappoints. The dancers were lovely – sorry ladies, but those shoes are horrible! – and the audience was clearly wooed by the romance and velvet voice of Sinatra. Since the final piece was to recorded music (the previous three were accompanied by the wonderful Chicago Philharmonic) necessity dictated the order of the show. The performance would have been better served, in my opinion, if it had followed the evolutionary and chronological arc of the choreography.

 

 

 

Joffrey’s Nutcracker: Clean, Crisp, Classic

Posted on by
Reply

Joffrey Ballet dancers Yoshihisa Arai and Jack Thorpe-Baker battle in "the Nutcracker". Photo by Herbert Migdoll.The Joffrey Ballet‘s production of The Nutcracker still sparkles in its silver anniversary. Opening night, Friday, December 7 at the Auditorium Theatre, marked the 25th year for this particular magical tale choreographed by Joffrey co-founders Robert Joffrey and Gerald Arpino and the magic and choreography still hold up today. With beautiful accompaniment by the Chicago Philharmonic, under the direction of Scott Speck, this version of the holiday ballet boasts clean dancing, crisp choreography and classic storytelling.

Joffrey’s Act One is notable for its speed and depth of action, especially the Party Scene. There is a lot going on in that Victorian living room. Too much for one set of eyes to catch it all, but that also speeds the story along and sweeps you Clara’s world, so you’re ready to fight and dream right along with her. Opening night’s casting had Clara and Fritz almost as tall as their parents, a distraction from the illusion of them really being children. That uneasiness was quickly erased by the dancers commitment and enthusiasm to their characters. Caitlin Meighan was delightful, youthful and vibrant as Clara, her rapid bourrée runs full of excitement. Ricardo Santos was obstinate and ornery as Fritz before taking a star turn as the Snow Prince in the Snow Scene at the end of the Act. His lightening quick jumps and spot-on turn sequences dot the fiendishly fast Arpino choreography amid a flurry of snowflakes. Solid dancing from the entire company lets the choreography shine. I know Mr. A. liked things brisk, but the speed of this evening’s performance surely made it the fastest Nutcracker in the Midwest!

Joffrey dancers Dylan Gutierrez and April Daly in "The Nutcracker". Photo by Herbert Migdoll.

Act II transports to us to The Kingdom of Sweets where the dancers took bravuro turns in each variation. Highlights were Amber Neumann as the sassy Spanish Chocolate, the pristinely perfect Marzipan Shepherdesses (Jeraldine Mendoza, Catherine Minor and Jenny Winton) as well as Kara Zimmerman and Elizabeth Hansen as the lead flowers in Waltz. Always a crowd pleaser, the Russian Nougats (Jacqueline Moscicke, Derrick Agnoletti, Yoshihisa Arai and John Mark Giragosian) did not disappoint. Arpino’s Waltz continues to be an all-time favorite for me, however, this year incorporated some costume updates that marred the visual cohesiveness of the dance. The Sugar Plum Fairy (April Daly) and her Cavalier (Dylan Gutierrez) raised the bar with strong, stellar performances. Daly, as fresh and lovely as her month’s namesake, lit the stage with dazzling effervescence, exquisite extensions and beautiful balances. Gutierrez continues to come into his own in lead roles, establishing himself as a solid, sure partner and delivering a clean, commanding variation. These two definitely proved the saying ‘save the best for last’.

The Joffrey Ballet’s The Nutcracker runs through December 27 at the Auditorium Theatre, 50 E. Congress Pkwy. Tickets are $31-$132. Call 800.982.2787 or visit www.ticketmaster.com.

 

Hubbard Street Shines in Ek’s Work

Posted on by
Reply

Hubbard Street dancers Ana Lopez and Alejandro Cerrudo in Mats Ek's "Casi-Casa". Photo by Todd Rosenberg.

Opening night of Hubbard Street Dance Chicago‘s Winter Series at the Harris Theater last night marked the first time a U.S. company has presented the work of Swedish master choreographer Mats Ek. Well-known in Europe for his theatrical creations for stage and film, Ek has worked with acclaimed dancers like Sylvie Guillem and Mikhail Baryshnikov. Now, with the help of dancers Ana Laguna and Mariko Aoyama, he takes our very own Hubbard Street dancers to new, extraordinary heights in his 2009 work Casi-Casa. A mash-up of two of his previous works, Appartement and Fluke, Casi was originally created for Danza Contemporánea de Cuba in 2009. Also on the program, Aszure Barton’s grand Untouched and two works by resident choreographer Alejandro Cerrudo.

Although last on the evening’s program, Ek’s Casi is what everyone came to see. Even founder Lou Conte was there to witness his company make history. And make history they did, for once they raised the bar for themselves, the audience, the city and the country by excelling in this work, they can never go back. The cast of 12 dancers was stellar, but it was the staging and choreography that transfixed. Casi-Casa was stunning, ugly, casual, urgent, funny, human, disturbing and wonderful. Ek’s way of taking a mundane gesture or activity and turning it into something alternately beautiful, endearing and disgusting is true brilliance. With a cast of misfit characters like TV Man, Vacuum Woman, Stove Couple and Door Couple, the 40-minute piece flies by and leaves you wondering just what the hell happened. No, really…WTF just happened? Poking, sniffing, sighing, spitting, grabbing and whistling mix easily with insanely difficult, breathtaking dancing set to a score as schizophrenic as the characters. Vacuum cleaner-wielding women dance an OCD-frenzied jig, a couple struggles to stay together while tragedy roasts in an oven, and a man makes being a couch potato an art form. The work has everything you never thought you’d see on stage in a dance and then some. There is a sexual undercurrent throughout – a hand to the breast, a foot to the crotch, a groping embrace – that is sometimes nonchalant, purposeful, sad and almost crude. One of the most beautiful moments was a delicate, loving duet between Jesse Bechard and David Schultz. A section with no dancing had yellow and black caution tape zig-zagged across the stage as Hitchcockianly dangerous music blared as if to say, what happens in between these walls should not be seen. But Ek lets us look anyway.

Barton’s Untouched is a beautiful work that brilliantly showcases these dancers talents. Originally created on Hubbard Street in 2010, Barton incorporated bits of the dancers personalities into the movement. Even though a few of the performers have changed, the delicate intimacy of the gestures remain, punctuated by strong technique and creative partnering. With a lush red curtain pulled back on stage right as a backdrop and an almost formal informality to the structure, it is reminiscent of Edwaard Liang’s Age of Innocence, but on LSD. It’s just a little off. Where Liang’s duets are pristine with a feminine sense of longing, Barton’s transforms the women – Ana Lopez and Kellie Epperheimer – into wounded birds seeking freedom. Where Liang works within the structured lines of Victorian court dances, Barton takes that framework and alters it with syncopation and weight. Unexpected moments of impatience – a fast hip bounce, a dancer frantically running in place – dot the more serene essence of the dance. The dancers are at home in this piece. Plus, anything that begins with the gorgeous Meredith Dincolo in a floor length dress is assured to be spectacular.

In between Barton and Ek was a suite of dances by Cerrudo. Both have his penchant for dark lighting and mood, but to different ends. Blanco, a study in minimalist movement for four women, and PACOPEPEPLUTO, a tongue-in-cheek romp for three men to Dean Martin songs, highlight the rising choreographer’s serious and light sides. Both used similar movement vocabulary with results at the opposite ends of the dance spectrum. The audience seemed in awe of the raw physical beauty of the women, but the charming men – Johnny McMillan, Schultz and Pablo Piantino – captured their hearts wearing nothing but dance belts. Recently named to Crain’s Chicago Business’ “40 Under 40” list, Cerrudo shows what he can do with just music, lighting and bodies. While all the dancers deserve high praise, Cerrudo gets a special mention. With his busy schedule traveling the world setting his work, he hasn’t graced the Harris stage – aside from choreographic bows – since last March. He showed that he still has the chops to hang with and stand out in this amazing group of dancers. Bravo!

Hubbard Street Dance Chicago’s Winter Series runs through Sunday, Dec. 9 at the Harris Theater, 205 E. Randolph. For a 20% discount on tickets use the code: CASI at www.hubbardstreetdance.com/winter.

Hubbard St Shatters Own Glass Ceiling

Posted on by
2

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…

Wednesday in the Park with Giselle

Posted on by
2

Crowd at Pritzker Pavillion for Paris Opéra Ballet's live simulcast of "Giselle". Photo by Robert Carl.

An estimated 14,000 people showed up at Millennium Park Wednesday evening to watch the live simulcast of the Paris Opéra Ballet‘s performance of Giselle.  After a greeting from Chicago’s Department of Cultural Affairs and Special Events (DCASE) Commissioner, Michelle T. Boone and a few words from Brigitte Lefèvre, Paris Opéra Ballet’s Director, the audience fixed its collective gaze at a giant screen  set up on the Pritzker Pavilion stage.  The LED screen set up by Staging Solutions was 18′ x 32′ according to the City’s press release or 16.5′ x 32.5′ according to Hedy Weiss in the Chicago Sun Times – it was big!  Hi-tech, LED, surround sound and arguably the most famous ballet company in the world performing my favorite ballet…for free.  I love my city!

Chicagoans have been privy to this ballet before.  Local fave Joffrey Ballet presented Giselle in October 2007 and American Ballet Theatre has performed it here numerous times, most recently in March.  The ballet was created for the Paris Opéra Ballet in 1841, however, the current version was staged by Patrice Bart and Eugene Polyakov in 1991.  The french version is pretty much the same as what we’ve seen before with one notable exception.  The Americanized adaptations throw in more grandiose choreography.   For instance, ABT’s version has Albrecht’s brisé diagonals and grand jumps in Act II, where Paris Opéra has him doing slow changements that grow into a crescendo of entrechat quatré and six (performed with great ballon by Nicolas Le Riche).  Where ABT’s Myrta breezes back and forth across the stage and in and out of the wings in a bourré flurry, Paris Opéra’s Myrta’s doesn’t leave the stage, stopping and balancing in sous-sus before taking off again, an exercise in complete control (danced brilliantly by Nolwenn Daniel – she was scary!).    Clairemarie Osta’s Giselle was a sweet, innocent take on young love, but her mad scene lacked the dramatic prowess of a Julie Kent.  Rounding out Wednesday’s cast was hottie Vincent Chaillet as Hilarion and a stellar corps de ballet.  Those Wilis were on!

Being outside had the effect of enhancing, yet separating you from the performance.  The breeze made you feel like you were in the glen celebrating the wine festival and as the sun set and the sky became darker, you could imagine yourself in a wooded graveyard.  The minimal downside was random fire engine sirens and the weekly fireworks exploding at nearby Navy Pier, but that made the experience uniquely Chicago.  There was a disconnect not being in the theater.  A twice-removed feeling: one, you’re not in the theater and two, you’re watching live dance being filmed on a screen.  Nothing beats a live performance experience, but knowing it was being performed live a few hundred feet away (and below) was pretty cool.  The actual filming was fantastic with close-up shots of the lead dancers, a peak into the orchestra pit, an angled shot that showed a hint of the entrances from one wing.  It gave those of us in the cheap (free) seats a VIP feel.

 

Thoughts on HSDC’s Summer Series 2012

Posted on by
1

In a word:  brilliant.  The dancers, the dancing, the choreography, the curation – all of it.  Hubbard Street Dance Chicago‘s (HSDC) Summer Series opened last night at the Harris Theater with a three-work program that solidified the company as an elite group of dancers at the top of their field.  Breaking new ground as the first U.S. company to perform William Forsythe’s Quintett, HSDC proved (again) they have the chops to tackle anything.  HSDC resident choreographer Alejandro Cerrudo’s cross-company collaboration with HSDC and Nederlands Dans Theatre Malditos and Batsheva Dance Company artistic director Ohad Naharin’s 2011 mash-up of previous works THREE TO MAX bookended Forysythe’s piece for a full, lush, well-rounded evening.

Malditos is a study in shadows.  Dark lighting is a tool Cerrudo uses often, but never with as great effect as in this work.  The dancers slip in and out of the darkness like ghosts appearing and disappearing at the edges of your mind.  The score from the film The Beat That My Heart Skipped by Alexandre Desplat beautifully compliments his    choreography.  The end, where an almost naked Ana Lopez dances duets with three interchangeable men, is breathtaking.  The dancing continues as the lights fade out and back in as a different partner joins her.  Each partner touches her with the top of his head, but she reacts differently to each touch eventually taking over and touching one back with her head before they melt to the ground together as the lights fade.  The duets throughout are stunning displays of love and trust studded with architectural partnering and razor-like technique.  Cerrudo holds his own next to master choreographers Forsythe and Naharin.

The performance of Quintett was transformational.  What these five dancers (Meredith Dincolo, Penny Saunders, Jonathan Fredrickson, Jesse Bechard and Kevin Shannon) created on stage was extraordinary.  They are always good, but this was something truly special.  A looped score of a homeless man singing “Jesus’ Blood Never Failed Me Yet” created a base canvas for the movement to take life.  The repetition let you focus on the relationship of the five characters.  Simple ballet moves like a tendu devant or a double pirouette seemed to take on new meaning.  The piece was created in 1993 in collaboration with five of Forsythe’s dancers.  Three of the original cast – Dana Caspersen, Stephen Galloway and Thomas McManus – worked with the HSDC dancers to set the work over the past few weeks.  The connection, emotion and energy of the dancers was palpable.  Bechard, a strong presence in all three pieces on the program, at times simply defied gravity.  One quiet moment as Saunders rested her head on Bechard’s back for a couple of seconds let the audience catch their breath before being sucked back in to the wonderful whirlwind happening on stage.

Naharin’s piece has the dancers clad in simple jeans and colorful tank and tees. Dressed as civilians, the dancers seemed stripped down to their bare essence.  They were open, honest, subtle, sensual, vulnerable.  Human.  The rich movement sections captured their talents and personalities.  At one point a dancer looks at his hands and then extends them to the audience, giving us what’s there as if saying “here, this is who I am”.  The counting section (where the dancers ascribe a movement to a number as a voice counts to ten, adding new movements each time the counting starts over) and a partially improvised follow-the-leader sections are stand outs.

Three shows remain in the Summer Series.  I highly recommend it.

For ticket information:  hubbardstreet.com, call 312.850.9744 or visit the Harris Theater box office at 205 E. Randolph.