Category Archives: William Forsythe

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. 

Sneak Peek: Joffrey’s Incantations

Posted on by
Reply

Choreographer Val Caniparoli.

RB sat in on a run-thru of Val Caniparoli’s world premiere for Joffrey Ballet this afternoon. Incantations is a whirlwind of movement from start to finish. As lead dancer Matthew Adamczyk* said, “It’s like being shot out of a cannon.”  The full-costume run (men shirtless in nude tights w/ sanscrit verse, women in nude leotards with spirals and lines) showed off dancers still a week out from the premiere, but at the top of their game.  This work is difficult and non-stop, yet some of the dancers were smiling as if they were delighted (or perhaps delirious) with performing it.  Solo passes garnered applause from the dancers watching.  Duets are dramatic and fast, with a few partnering moves reminiscent of Mr. A’s Light Rain and William Forsythe’s works.  A brief male duet featuring Adamczyk and Rory Hohenstein is…hot!  In fact, every dancer in the piece looks great – a tribute to the choreographer.

Caniparoli’s Incantations is joined by Edwaard Liang’s Age of Innocence and Jerome Robbins’ In the Night on the Spring Desire program.  Fantastic news!  RB also learned that Miguel Angel  Blanco, who was sidelined with an Achilles tendon injury last season requiring two surgeries, will be performing a piece on opening night.  Welcome back.

Joffrey Ballet Spring Desire runs April 25 – May 6 at the Auditorium Theatre, 50 E. Congress Pkwy.  Tickets:  800.982.2787 or visit ticketmaster.com.

*Click here to read my preview of Incantations in Windy City Times.

Bringing the Heat

Posted on by
Reply

Joffrey dancers Christine Rocas & Rory Hohenstein in William Forsythe's "In the Middle, Somewhat Elevated". Photo by Herbert Migdoll.

In a pre-show video at opening night of Joffrey Ballet‘s Winter Fire program, artistic director Ashley Wheater says, “This company is eclectic and diverse, the repertory should reflect that”.  The three works presented from international contemporary choreographic stars William Forsythe, Christopher Wheeldon and Wayne McGregor were eclectic, diverse and showed the current company of dancers in a new light.  A big, hot spotlight.  This show reminded me of the Joffrey I fell in love with years ago.  A company that always pushed boundaries with challenging, interesting new works.  A company that made you sit up and ask,”What is happening on stage?”…in a good way.

This program pushed the dancers to a new level, challenging technique and complacency.  They rose to the challenge – they were hot!  The hottest of them all was Rory Hohenstein.  He hasn’t been featured much in his first season with the company (aside from a stand out solo at Dance For Life last August), but wow, keep your eyes on this one.  Last night, he was on fire.  A fierce presence in every piece, Hohenstein showed off his partnering skills, flexibility and attitude with every flick of his wrist, penché pitch and swing of his head.  Paired with Victoria Jaiani in two of the three pieces, he held his own with the dancer that has become the unequivocal star of the company (“All stars/No stars”? I’m not so sure that’s the motto here anymore).

Forsythe’s In the Middle, Somewhat Elevated featured these two in dazzling duets that were so intricate and hyper-extended you wondered how they got through them without being tied in a knot.  Jaiani’s incredible capacity for extension and impossibly thin frame punctuated the dark, downlit stage.  Similar in build and flexibility, Christine Rocas – let’s call them the bendy/flexy twins – showed her stuff alongside a strong cast.  There were some extraordinary things happening on the sidelines, particularly with April Daly, Amber Neumann, Anastacia Holden and Ricardo Santos that unfortunately got lost with so many things going on at once.  Also, the two lead females (Jaiani and Rocas) were supple and strong in the partnering, but seemed timid on their own.  I spotted Chicago Dancing Festival‘s Jay Franke and David Herro in the audience, with Mayor Emanuel and family.  Hint: this would look great on the Pritzker Pavilion stage in August! Yes for the Fest?

Joffrey dancer John Mark Giragosian in Wayne McGregor's "Infra". Photo by Herbert Migdoll.

The LED projections of figures walking displayed above the dancers in Wayne McGregor’s Infra was distracting at first, but became part of the movement theme happening below.  Inspired in part by the 2005 London bombings, McGregor takes the every day action of going to and from work and turns into an emotionally charged romp set to a cyber techno beat by Max Richter.  You could see a hint Forsythe’s influence at work here.  Again, a strong ensemble cast featuring virtuoso turns by all.  Amber Neumann showed her acting chops with a mental melt down center stage.  A large cast of extras walked across the stage sweeping her off with them alluding to the fact that life goes on.  Jaiani and Hohenstein end the work with another eye-popping duet.

Christopher Wheeldon’s After the Rain was the mid-show palette cleanser offering a softer break from the hard-hitting opening and closing numbers.  The music, Arvo Pärt’s Spiegel im Spiegel (which can make me weepy within the first three notes), was brought to life with accompaniment by Paul James Lewis, Paul Zafer and Carol Lahti.  A stellar cast of Jaiani, Hohenstein, Daly, Matthew Adamczyk, Fabrice Calmels and Valerie Robin added maturity and nuance to the work that was a company premiere in 2010.

Joffrey dancers Victoria Jaiani & Fabrice Calmels in Christopher Wheeldon's "After the Rain". Photo by Herbert Migdoll.

The duet by Jaiani and Calmels, which was stunning last season, was one of the most beautiful things I’ve seen on stage (aside, perhaps, from the Act II pas in Giselle).  What once had a breathtaking romantic feel, like how a young girl dreams her first time in love will be, evolved into a heartbreaking, lifelong love shifting in need.  For me, it took on a she’s-dying-and-he’s-taking-care of-her/Dying Swan vibe.  Whatever the impetus, it works.  As the donor’s rose to their feet in ovation, you could sense the many wallets falling open asking simply “how much?”.

 

Tear It Apart

Posted on by
Reply

Joffrey dancers Victoria Jaiani & Fabrice Calmels in William Forsythe's "In the Middle, Somewhat Elevated". Photo by Herbert Migdoll.

“Just music, head, hands,” he says to the dancers.  It’s Monday morning and the Joffrey Ballet dancers are ready for a run-through of William Forsythe’s 1987 work, In the Middle, Somewhat Elevated.  They’ve learned all the steps and had two days off over the weekend.  Some dancers have been sick, so répétiteur Glen Tuggle tells them to take it easy.  “Mark it, but always do head and hands.”  Even marking, you can see the difficulty of the choreography.  The intricate hand grips, the off-center leans, the speed.  This 22-minute abstract piece pushes dancers to their limits and then asks them to go one step more. Stretch their technique to the limit, or “tear it apart”.

Tuggle, currently the Ballet Master/Teacher with Les Ballets de Monte-Carlo, has danced with Harkness Ballet (disbanded 1975), Zurich Opera, Stuttgart Ballet and Frankfurt Ballet (disbanded 2004).  He met William (Bill) Forsythe while in Stuttgart at the age of 22.  Forsythe had just started to choreograph.  Fast forward 23 years and Tuggle has the enjoyable task of teaching/setting Foysythe works around the world.  Having danced Middle for numerous years, he is intimately familiar with the work.  Originally created for the Paris Opera Ballet, Forsythe cast a young Sylvie Guillem in one of the lead roles and made her a star.  I sat down with Tuggle at the Joffrey Tower to discuss the famous work and working with our home town company.

How is it working with the Joffrey dancers?

Wonderful! I’ve been having a great time.  We’ve all been having a great time. I set ‘Middle’ in 17 days. I know it, of course, but for the dancers to learn it that fast is amazing. 

What is the most difficult thing about teaching it?

In ‘Middle’, we take the classical language and stretch it – tear it apart. Some of the classic lines…you see them, but then they go to a further degree and you don’t recognize them anymore.  I think the hardest thing about teaching it is helping the dancers understand how far they can go.  Giving them enough confidence in themselves to be comfortable doing that.

How do you do that?

I find most of my work, whether it’s setting ‘Middle’ or the other ballets I set for Forsythe or teaching class, is to care for the dancers…let them know that I believe in them, that I care for them.  It’s a dialogue we have together as a teacher or rehearsal director or coach. It’s quite intimate. I find one of the most interesting parts of my job is the psychological aspect of working with dancers either individually or as a group.  It takes a lot of thought to help them understand how far they can go and to trust themselves.  I’ve worked with many dancers who’ve been damaged by the schools they went to and they hear “No” way too often in their career.  I learned from some of the most influential people in ballet over the last 30 years that the use of language is extremely important when working with dancers.  You try not to use too many negatives.  There is always a way of saying things without “No” being in it.  Especially if you see a dancer who is already not confident.  Even if they have the everything, the beauty, the body, the technique…they don’t actually believe what they see.  You have to really convince them that they are beautiful.

Why do you enjoy setting this particular work?

It’s always so fulfilling for me, even after 23 years of working with ‘Middle’, because the dancers have such a great time and you’re introducing them to a world they aren’t familiar with in Bill’s works. He says, “Be where you are.”  If you’re not where you want to be, dance and be where you are.  Technically he’ll let them go for something really difficult, because they’re just going to walk out of it.  So if it works, you can say, it really worked tonight, but if it doesn’t work, no one will know. The audience won’t know. You’re not usually asked to do that.  I’ve seen some phenomenal things happen in ‘Middle’, where the people themselves couldn’t believe they did it. 

Is it just an abstract dance or is there meaning behind it? What is the audience supposed to take away?

I think he just wants them to be stimulated by it and see the degree and the level of dancing that’s possible when one is given the opportunity and given the freedom to tear it apart.  There is a lot of freedom in ‘Middle’. The last pas de deux (which is just phenomenal), he said it’s like you’re in a disco and just tearing it apart.  It’s so technically so difficult, because of the speed. 

Also on the program, Christopher Wheeldon’s beautiful After the Rain, which made its Joffrey premiere in 2010 and Wayne McGregor’s Infra, inspired in part by the 2005 London subway bombings.  Joffrey will be the first company to perform the work outside the Royal Ballet, where it premiered in 2008.

Joffrey Ballet presents Winter Fire – Feb 15 – 26

The Auditorium Theatre, 50 E Congress

Tickets are $25 – $149.  Call 800.982.2787 or visit ticketmaster.com

Autumn in the City

Posted on by
Reply

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

HSDC Announces 2011-2012 Season

Posted on by
Reply

HSDC dancer Jessica Tong in Sharon Eyals "Too Beaucoup". Photo by Todd Rosenberg.

Hubbard Street Dance Chicago (HSDC) announced its 2011-2012 season today. Some Twyla, some Nacho, some Forsythe, some old, some new, a little Harold, LINES and a lot of Cerrudo. On paper, it already looks amazing. On stage, it is not to be missed. Under the direction of Glenn Edgerton, HSDC has continued to show an international audience why they are one of the best. Flawless technicians, intuitive artists, open and honest performers and consummate professionals.

Next season opens with the company at the Harris Theater in October. Nacho Duato’s gorgeous Arcangelo (if you were lucky, you saw it last fall), Johan Inger’s Walking Mad and a world premiere from Twyla Tharp (working with the company again after a 15 year absence) launches the new season. HSDC switches it up for the Winter Series in January, by performing a slew of new works on the MCA Stage and presenting danc(e)volve: New Works Festival. Edgerton will curate the show featuring pieces picked from the company’s Inside/Out Choreographic Workshop, two winners from the annual National Choreographic Competition and HS2 will perform a world premiere from HSDC Resident Choreographer Alejandro Cerrudo.

Springtime brings HSDC back to the Harris for a power-packed program bringing back Sharon Eyal’s techo-intense Too Beaucoup (a huge hit from this year’s Spring Series), Alonzo King’s Following the Subtle Current Upstream (which audiences will see in the upcoming May Summer Series) and another world premiere by Cerrudo, his 10th in four years as Resident Choreographer (keep them coming please!).

In December, HS2 bings back the delightful children’s program Harold and the Purple Crayon: A Dance Adventure. Choreographed by HSDC dancer Robyn Mineko Williams and HSDC Artistic Associate Terrance Marling, Harold wowed the sold-out crowds at its premiere, enthralling parents and kids alike. (Case in point: I’m not sure who enjoyed it more – me or my 6-year-old goddaughter!) Rounding out the season, the company revisits Cerrudo’s Maltidos and Ohad Naharin’s THREE TO MAX (which just had its premiere in March) and presents the much-anticipated company premiere of William Forsythe’s Quintett. Of course, this is just the Chicago concert series. The company is always busy touring, cultivating the collaborations with the Chicago Symphony Orchestra (now in its 9th year) and the Art Institute of Chicago and doing community outreach through the Chicago Public Schools.

Merde to HSDC for what will undoubtedly be another outstanding season of dance!

HSDC Announces 2011-2012 Season

Posted on by
Reply

Dancer Jessica Tong in "Too Beaucoup". Photo by Todd Rosenberg.

Hubbard Street Dance Chicago (HSDC) announced its 2011-2012 season today.  Some Twyla, some Nacho, some Forsythe, some old, some new, a little Harold, LINES and a lot of Cerrudo.  On paper, it already looks amazing.  On stage, it is not to be missed.  Under the direction of Glenn Edgerton, HSDC has continued to show an international audience why they are one of the best.  Flawless technicians, intuitive artists, open and honest performers and consummate professionals.

Next season opens with the company at the Harris Theater in October.  Nacho Duato’s gorgeous Arcangelo (if you were lucky, you saw it last fall), Johan Inger’s Walking Mad and a world premiere from Twyla Tharp (working with the company again after a 15 year absence) launches the new season.  HSDC switches it up for the Winter Series in January, by performing a slew of new works on the MCA Stage and presenting danc(e)volve: New Works Festival.  Edgerton will curate the show featuring pieces picked from the company’s Inside/Out Choreographic Workshop, two winners from the annual National Choreographic Competition and HS2 will perform a world premiere from HSDC Resident Choreographer Alejandro Cerrudo.

Springtime brings HSDC back to the Harris for a power-packed program bringing back Sharon Eyal’s techo-intense Too Beaucoup (a huge hit from this year’s Spring Series), Alonzo King’s Following the Subtle Current Upstream (which audiences will see in the upcoming May Summer Series) and another world premiere by Cerrudo, his 10th in four years as Resident Choreographer (keep them coming please!).

In December, HS2 bings back the delightful children’s program Harold and the Purple Crayon: A Dance Adventure.  Choreographed by HSDC dancer Robyn Mineko Williams and HSDC Artistic Associate Terrance Marling, Harold wowed the sold-out crowds at its premiere, enthralling parents and kids alike.  (Case in point:  I’m not sure who enjoyed it more – me or my 6-year-old goddaughter!)  Rounding out the season, the company revisits Cerrudo’s Maltidos and Ohad Naharin’s THREE TO MAX (which just had its premiere in March) and presents the much-anticipated company premiere of William Forsythe’s Quintett.  Of course, this is just the Chicago concert series.  The company is always busy touring, cultivating the collaborations with the Chicago Symphony Orchestra (now in its 9th year) and the Art Institute of Chicago and doing community outreach through the Chicago Public Schools.

Merde to HSDC for what will undoubtedly be another outstanding season of dance!