Welcome to Episode 20 with my guest Annabelle Lopez Ochoa. This is the first repeat guest for the podcast. Why a repeat? Well, it’s Women’s History Month, she has a new full-length ballet based on the life historical political figure Eva Perón which is making its Chicago debut this weekend, she’s a badass female choreographer, and honestly, I just love talking with her. You can listen to her interview on Episode 9 here. Ticket for the performances of Ballet Hispánico in Doña Perón at the Auditorium Theatre (March 26 & 27) are available here.
Annabelle has been choreographing since 2003 following a 12-year career in various contemporary dance companies throughout Europe. She has created works for 60 dance companies worldwide. In 2012, her first full-length work, A Streetcar Named Desire, originally created for the Scottish Ballet, received the Critics’ Circle National Dance Award for “Best Classical Choreography” and was nominated for a prestigious Olivier Award for “Best New Dance Production” the following year. Annabelle was the recipient of the Jacob’s Pillow Dance Award in 2019. You can read her full bio here.
“I’m trying to show the world we are all human beings, that color is not important, that what is important is the quality of our work, of a culture in which the young are not afraid to take chances and can hold onto their values and self-esteem, especially in the arts and in dance. That’s what it’s all about to me.” ~Alvin Ailey
Alvin Ailey American Dance Theater (AAADT) returned to Chicago’s Landmark Stage at the Auditorium Theatre this week after the pandemic forced a two-year break from touring. Their March 2020 performances were the last big dance show here before everything shut down. In hindsight, it was a blessing to watch Ailey’s trademark Revelations as the last dance viewed and enlightening to see it again now that we are finally, hopefully at the end of Covid-related restrictions. Although everyone was still masked at Ash Wednesday’s opening night, the mood in the audience felt lighter than it has since the last time they were here.
It was also my first time back to the gorgeous Auditorium Theatre, a bittersweet experience since, like myself, many of my former work partners lost their jobs due to the pandemic. A few friendly faces were still there with hugs to say we all made it through in some form or another. Being in the audience to review and not behind the scenes scrambling was an interesting change, one not completely comfortable for me. But…on to the show!
AAADT are performing three programs over their six days in Chicago (through Sunday, March 6). Ailey and Ellington and Rennie Harris’ Lazarus join staple Revelations in the second and third programs respectively. On Wednesday night, they opened with a celebration of Robert Battle’s 10th anniversary as artistic director. Seven of his choreographic works (or excerpts) showed his range, attention to detail, and musicality. Made over a span of decades, Battle has the versatility to move smoothly from slow, ritualistic groups of bodies forming statuesque tableaus (Mass) to intricate, quick and quirky stylized jazz (Ella) to balls-out, fast and frantic (Takademe). The music was a delightful journey of jazz with notes of Nina Simone, Ella Fitzgerald, and early Stevie Wonder. The Battle portion of the program served as an amuse bouche to the main course of Revelations.
This is what we came for and the AAADT dancers did not disappoint. I honestly can’t say how many times I’ve seen Revelations over the years (hint: it is a LOT), but I always find something different and refreshing whether it’s new faces in the familiar opening pose or a favorite, seasoned dancer further growing into the iconic choreography. Standout sections for me are always Didn’t My Lord Deliver Daniel; Fix Me, Jesus; Processional/Honor Honor (with that umbrella!); I Wanna Be Ready (Go Vernard!); and my favorite Sinner Man. Whether loose spacing, opening night nerves, or awkward height challenges in unison dancing, there were brief moments of uncharacteristic flaws that were just as quickly replaced by their beautiful artistry.
Missing on Wednesday was dancer Clifton Brown and the standard curtain call after bows when the company reprises the end of the final section Rocka My Soul in the Bosom of Abraham. That coda with the audience still standing and clapping along is the feel good moment that lingers with you long after the performance is over. I missed it.
There are four performances left in the run. Tickets start at $40 and are available at auditoriumtheatre.org or by calling 312.341.2300.