Preview: Lucky Plush’s The Better Half

Posted on October 27, 2011 by Vicki

The cast of "The Better Half". Photo by Cheryl Mann.

Tonight at the MCA Stage, Lucky Plush Productions (LPP) opens a two weekend run of its new production The Better Half. A 75-minute collaboration between LLP Artistic Director Julia Rhoads and physical theater troupe 500 Clown Co-Founder Leslie Buxbaum Danzig, this new work puts a modern, interactive twist on the psychological thriller Gaslight (1944 movie based on the Patrick Hamilton play Angel Street) where a husband tries to make his wife believe she’s losing her mind. The Better Half incorporates characters, text, lighting (Heather Gilbert) and sound (Mikhail Fiksel) cues and a heave dose of reality to keep the story evolving in real time on stage. Add in costumes by Jeff Hancock and you have the setting for a fun, creative collaboration living inside a live, artistic whodunit?

I spoke with Rhoads earlier this week about her process and the new work.

I’m embarrassed to say, I think the last thing I saw Lucky Plush perform was Lulu Sleeps (2005). (*Side note: After viewing the repertoire on LPP’s website, I’m happy to say I have seen most of the recent work, although I did miss last year’s hit Punk Yankees.) Back then, you were incorporating theatrical elements, but recently you seem to be adding even more theatrics and humor. Is that a different direction you’ve taken over the years, or is it just because I’ve missed some of your work?

I think it’s both. One of our first works has been our longest standing work which we’ve done over and over is Endplay (2003). That work has a (Samuel) Beckett play inside of it and is very much about human relationships and about the performers on stage and how they’re interacting and negotiating with each other. I think that piece had a real liveliness to it that I’m interested in now in my work. One thing that was a big game-changer for me was Cinderbox 18 (2007). It just was kind of a magical process. That was a process in which I started to think more about the liveness, the immediacy of being in performance and having the performers be in a state of response to each other, so it’s less like every move and detail is set and choreographed…there was a real openness. I did this thing back then where I’d write a little note down for each of them some unknown element that they had to accomplish during the run. Some of them ended up being in the show in a fantastic way and some of them miserably failed, but the best thing is it wasn’t really meant to find new things to add to the show, it was just a bonus if something really landed. What it did was put the performers in a constant state of presence because they had no idea what the changes were going to be and what someone might do to change the game. Even though the sections and the structure and the movement was set, there were things that would happen that they would have to deal with and respond in a very real-time way. It was just such an exciting process for me. Since 2007, and really going back to Endplay, I really want the audience to feel like they are knowing the performer, that it was really about the people and not just the dancers being sort of a non-subjective entity.

This process in The Better Half is even going more in that direction. Accessibility is really important. I think it’s sometimes perceived as a dirty word. I think accessibility is great. You can be incredibly intelligent and accessible. It doesn’t mean you’re diluting the content, it just means you’re allowing the audience to enter into it and to maybe laugh or maybe feel like they’re included. This process has moved more into the dialogue…it’s more narrative. The dialogue is in service to character development. Narrative, at the same time, we’re doing something very familiar to LPP’s body of work. We’re also the performers that arrive at the MCA when we start. We all show up and we get a name of a character. We get character descriptions. We hear this vague synopsis of a play. My character, Mrs. Manningham hears that another person is called Mr. Manningham, so really all we know is presumably, we’re married, so we start to negotiate having a relationship in real time. Things start to happen. There’s kind of a loop structure, like reset button, but each time, the consequences change…grows more into the Gaslight story. The way we hope the work is going to land is kind of fun look at contemporary domestic relationships. It’s about the five of us being in the space together and negotiating roles that we’ve taken on or that have been imposed on us…how we grow into them. The loop structure is about routinization that happens in relationships, sometimes how we bring our habits and our role to a relationship and then it’s like that forever. You can recast yourself in a relationship, but it’s going to take a lot of work. The piece wants to speak to all of those things, how you want to jump script sometimes and how you find the resilience within a marriage or a domestic relationship. It’s fun and it’s funny and it has all of those elements, but it also lands with a real resonance about the question of can two people spend their lives together?

When the characters are getting the descriptions, is someone on stage telling them? How is that interacting happening?

In the beginning we’re sort of being directed by light. Light plays a really important role, light and sound, and we’re directed to a place on stage and one of the characters is directed to a place in the audience where there’s a podium with a binder that has the Gaslight synopsis. He’s privy to information that he’s one of us too. It says there’s another character and he gives himself the role of detective. He comes into the story and is in it for the remaining…being with us on stage as new narratives are proposed. There are about five or six scripts that we’re sort of navigating through. There are real time consequences for introducing those scripts and being inside of them and how it ultimately lands back in this central marriage.

How did the collaboration with Leslie come about? Have you worked together before?

We’ve known each other for a while. The thing that really drew us to each other is that she’s also interested in the immediacy of presence with the audience and having a real time experience. She’s also interested in humor. We’re a really good fit for each other. She came in during Cinderbox 18. I asked her to come in to give feedback to the process. I liked her language and I was really excited by her point of view. She had seen my work and I think she felt the same way. She’s really drawn to physicality. Her work is physical theater and she’s really drawn to dance and physical vocabulary as a way to move a story forward. We started talking about doing something together a couple of years ago. We’re both really excited about this work.

Lucky Plush Productions’ The Better Half, Oct 27-29 & Nov 3, 5, 6

MCA Stage, 220 E. Chicago, 312.397.4010

Autumn in the City

Posted on October 19, 2011 by Vicki

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

Henry V Delights at Dance Center

Posted on October 15, 2011 by Vicki

Post modern guru David Gordon has a way with words. He uses them as a structure, a starting point, an inspiration and then turns them into a complex living creative act right before your eyes on the stage. So it is with his Pick Up Performance Co(s)‘ presentation of Dancing Henry Five this weekend at The Dance Center of Columbia College. This 2004 revival is part theater, part performance art, part dance, part music collage. A deconstructed take on Shakespeare’s Henry V, it not only entertains, but offers a commentary on war that still resonates today.

The program calls it a “reduction” of Shakespeare’s work. Once in the theater, the stage shows what Gordon has reduced it down to – the bare necessities. Everything for the performance is on the stage in plain view. No wings, props strewn about the stage and performers standing around the edges waiting. Costumes of colorful, but faded rugby shirts with shorts suggest uniforms of a different kind of battle, rather than the 1415 Battle of Agincourt that they are about to partially recreate. The performers walk around the stage carrying signs with pertinent information (title, names, please turn off cell phones) passing by like the opening credits of a movie. Valda Setterfield (Gordon’s wife and former dancer with Merce Cunningham) acts as narrator and chorus moving the action along and adding sly, sometimes biting commentary – Gordon’s, not her own, she states – as well as joining in the dance. At 77, she’s still a dynamic performer with impeccable timing. (Go on with your bad self, Valda!)

Dancing Henry Five incorporates spoken word along with audio excerpts from the stage and movie versions of Henry V with musical interjections of William Walton’s score from the film. The first Shakespeare quote heard is “a kingdom for a stage” and Gordon transforms this stage into a kingdom, ocean and battlefield. At times funny, poignant, sad and moving, the one-hour production is a creative, quirky take on a classic historical poem. Shakespeare through the looking glass. Seven dancers make the action happen, most notable former American Ballet Theatre and New York City Ballet star Robert La Fosse. His trademark mole on his left cheek is barely visible through his make up, but watching him do a low quick jeté shows the technique, if not the flexibility, is still there.

As the plot takes us to war against the French, one can’t help but be reminded of more current events. “War takes minds off deficits”, says the narrator. Indeed. Originally choreographed in 2004, a year after we began the war in Iraq, the words bring a poignant pause to the audience. A quilt carried across the “water” includes an American flag, even though Columbus wouldn’t discover America for another 77 years. One image that sticks is dancers standing on sheets of material being slowly pulled across the stage like ships.

There is one performance left of this interesting post modern take on Shakespeare’s play. Tickets are still available.

Pick Up Performance Co(s) – Dancing Henry Five

The Dance Center at Columbia College, 1306 S, Michigan, 312.369.8330

Thoughts on HSDC 2011 Fall Series

Posted on October 14, 2011 by Vicki

Dancers Jesse Bechard & Penny Saunders in "Arcangelo". Photo by Todd Rosenberg.

Last night was the big night! Hubbard Street Dance Chicago‘s (HSDC) season opener at the Harris Theater with the world premiere of SCARLATTI by Twyla Tharp. A packed house (they even had to open up the balcony) full of Chicago dance enthusiasts, including our favorite fan-in-chief Mayor Emanuel and his family, was virtually vibrating with anticipation for a great show. As usual, HSDC did not disappoint.

Tharp’s SCARLATTI, set to the music of Domenico Scarlatti, opened the show. Extremely musical; lightening fast, vivid footwork; carefree, fun attitude and work-your-tail-to-the-bone difficult. In other words, quintessential Tharp. The dancers made it look easy. It isn’t. Not by a long shot. To say it is simply about the music and the dancing (although it is) is misleading. There is nothing simple about it. Using her evil genius mind and savant-like musical knowledge, Tharp creates a dizzying whirlwind of dancers entering and exiting the stage in a nanosecond. Part of the dizzying effect was due to the costumes, designed by Norma Kamali. White, black, neon yellow, stripes, leopard spot, headbands, arm bands…too much. Quite frankly, the costumes were distracting. The thirty-minute piece was non-stop, balls-to-the-walls dance finishing with a cute wave from new company member David Schultz as if to say, “hi, I’m here!” Standing ovation. The audience ate it up and Tharp postponed her bow to hug each of the dancers.

Nacho Duato’s Arcangelo, the next work on the program, is one of my favorite pieces in HSDC’s rep. A reflection on heaven and hell danced by four couples is set to the music of Arcangelo Corelli and Alessandro Scarlatti, who was the father of Tharp’s composer. HSDC brought the work into it’s rep last fall and is the only US company to perform it. (You can read my interview with Duato from last fall here.) It is gorgeous and the dancers performed it seamlessly. One audience member stood up to applaud at the curtain before everyone else. Mayor Rahm Emanuel. Too cool.

Dancers Kellie Epperheimer & Kevin Shannon in "Walking Mad". Photo by Todd Rosenberg.

Walking Mad by Swedish choreographer Johan Inger closed the show. Quite a few people had been talking about this piece, trying to convince me I had seen it before. I hadn’t. This is something you have to see to believe and you won’t soon forget it. (Note to Alejandro: party hats, wall, Bolero…now I know!) An ingenious mix of silliness, heartbreak, passion, despondency, acrobatics, strength and talent, set to the driving force of Ravel’s Bolero. Originally created ten years ago for the Nederlands Dans Theater, the work utilizes a wall set piece that has the dancers moving through four doorways, around, over and on the wall which also lowers to the floor, raises and folds to create a shadowy corner. I loved it.

Once again, to name stand outs would be to list every single performer. New company members Schultz and Garrett Anderson (Alice Klock was not in this cast, but I’m hoping to see her on Sunday) fit in like they’ve been here forever and are definitely where they belong. The show runs through Sunday and it is a must see. HSDC just gets better and better.

Joffrey’s Don Q: Q for Questioning

Posted on October 13, 2011 by Vicki

Derrick Agnoletti & Fabrice Calmels in "Don Quixote". Photo by Herbert Migdoll.

The sets were amazing, the costumes stunning, the integration of video/images imaginative, the score fast and flamboyant, the life-size horse puppet fantastic, the choreography ambitious, the characters lovable, so why am I left with the feeling something was off? Last night’s premiere of Yuri Possoknov’s version of Don Quixote for the Joffrey Ballet at the Auditorium Theatre had all the elements for a spectacular opening night, but it just didn’t quite get there. That may be a bit harsh. It was a wonderful show and sure to be a huge hit with audiences, but some of casting and staging were questionable and at times it seemed more like a full dress run and not up to the bar Joffrey has set for themselves. The show was held for twenty minutes due to a medical emergency (someone slipped and fell in the lobby), which may have had a negative effect on the dancers. I should also note that I sat in the third row, which was too close for my taste, and the ballet seemed almost too big for the stage.

Victoria Jaiani as Kitri in "Don Quixote". Photo by Herbert Migdoll.

Let’s start with the good stuff – and there was more than plenty. First, Victoria Jaiani as Kitri was fantastic as we have come to expect. Her fiery, flirty interpretation seemed second nature (although she seemed uncharacteristically nervous in parts of Act I) and I assume, growing up in Tbilisi, Georgia, she was practically weened on the part. Her ridiculous flexibility was on full display particularly in Kitri’s Act I solo with Plisetskaya leaps (named after Maya Plisetskaya who made them famous with the Bolshoi) where she literally kicks the back of her head. But why was she carrying castanets if she wasn’t playing them? The Act II wedding pas de deux coda famously has a run of thirty-two fouettes. Jaiani’s was spot on, even tossing in doubles every third turn in the first half. From my seat, while watching her turn, I could perfectly see her husband Temur Suluashvili’s face behind her beaming with love and pride. Jaiani’s partner (hired to replace the injured Miguel Angel Blanco), Cuban guest artist Carlos Quenedit, was charming, charismatic and mui talented, although I kept wondering “who is this guy?” The program only notes (with an asterisk) that he’s a guest artist. He was great and would be a lovely addition to the Joffrey family, but why hire a guest artist?

Amber Neumann & Anastacia Holden in "Don Quixote". Photo by Herbert Migdoll.

The other star of the show was the puppet. Crafted by Von Orthal Puppets, Rocinante, Don Q’s faithful companion was fresh and endearing addition to the cast performed by Shane Urton and Alberto Velazquez. The creation, nicknamed Otis by the company, only appeared in a few scenes which was a shame. Free Otis! More of the horse please. All of the character parts were perfectly played. Fabrice Calmels as Don Quixote (dashing, distracted), Derrick Agnoletti as Sancho Panza (delightfully bumbling), Willy Shives as Lorenzo (deliciously daft) and Matthew Adamczyk as Gamache (scene-stealingly silly). Soloists Amber Neumann and Stacia Holden were stand outs as Kitri’s friends. The corps — toreadors, seguidillas, dryads and bridesmaids — were outstanding and, aside from Kitri, did most of the dancing. Two female solo variations beautifully danced by Amber Neumann and Jeraldine Mendoza inserted in the middle of the Act II pas de deux seemed out of place and unnecessary. Equally perplexing was the need for the character Mercedes, a street dancer (Alexis Polito) who danced in the village with the toreadors. No offense to Polito who danced a lovely solo amidst daggers ingeniously stuck to the floor with frightening intensity, but I failed to see how her character aided the story line.

Victoria Jaiani & Carlos Quenedit in "Don Quixote". Photo by Herbert Migdoll.

The audience at first seemed timid and unsure of how to react to such a bold and ambitious production. Case in point: Kitri and Basilio do these amazing one-handed presage lifts about six times. The first four are done in pairs and in quick succession separated by supported pirouettes. Fair enough, the lift might not have been held long enough for them to really see what was going on. The second two are held for a sustained period of time – long enough for Jaiani to hold, look at audience and shake her tambourine before coming down – with the orchestra (Chicago Sinfonietta) holding for effect. The first lift…nothin’. The second, held long enough for Quenedit to carry her – with one hand! – across the entire stage. I laughed out loud before obnoxiously clapping, wondering what it was going to take to get these people going. Luckily, they came around and were clapping to the music enthusiastically during the finale. Over all, it was a tremendous undertaking that, once a few kinks are figured out (particularly the long, awkward “pause” in Act II), will delight for the entire two week run. As Artistic Director Ashley Wheater said last week, “I think the company will grow into it.” I think they will and hope Don Q will be in Joffrey’s rep for a long, long time.

Moving Up

Posted on October 11, 2011 by Vicki

Dancers David Schultz & Alice Klock in "I Can See Myself in Your Pupil". Photo by Todd Rosenberg.

For two of the three new dancers added to Hubbard Street Dance Chicago‘s (HSDC) roster this season, it was a new road traveled. Alice Klock and David Schultz – 23 and 24 respectively – are the first two dancers to move up the HSDC chain from summer intensive students to members of HS2 to being promoted to the main company. All in two years.

Both dancers hail from Michigan, but the similarities in dance beginnings end there. Schultz stated dancing at five taking tap (he wanted to be Donald O’Connor), then began taking ballet classes with his older brother Nick. Once hooked, he took numerous summer workshops that eventually led to an apprenticeship (while still in high school) and then a full-time position with the Grand Rapids Ballet, where he danced for over four years. Klock didn’t start dancing until age 11 with ballet classes. She quickly took to the form and three years later attended a summer program at San Francisco Ballet, where she decided she wanted to be a professional dancer. She went to Interlochen Center for the Arts for high school and after two years at Dominican University, figured it was time to start her professional career.

Here’s where there stories come together. Both attended the HSDC summer intensive in 2009 and were asked to join the second company HS2. Landing here happen almost by accident, but now they couldn’t be happier. “I’d known a little bit about the company, but once I got here, I realized how much I really loved the whole philosophy and the rep,” says Klock. Schultz agrees. “Just learning the rep I thought ‘this is it’! This is what I want to do.” Their success ties into the larger HSDC mission of nurturing the next generation of artists. “David and Alice are great examples to a bigger mission of mine, which is to mentor young dancers and prepare them for a profession in dance rather or not they continue with Hubbard Street or not,” says Artistic Director Glenn Edgerton. “They’ve matured so quickly in all ways, both in their dancing and also in their understanding of how to approach their work creatively and practically. I feel we have been able to tap into their talents and start to challenge them toward their potential.” That potential will be challenged this season with having to learn the previous repertoire that includes masters like Ohad Naharin, Nacho Duato and Jirí Kylián, as well as new company works by a range of choreographers from Resident Choreographer Alejandro Cerrudo to the legendary Twyla Tharp (her world premiere hits the stage this Thursday, Oct 13th).

Alice Klock & David Schultz in "Harold and the Purple Crayon". Photo by Todd Rosenberg.

No one is more proud of these two dancers than HS2 Director Taryn Kaschock Russell, “I’m so proud of them!” After thriving under her guidance in the second company, Klock attributes much of their success to her. “Taryn is amazing,” she says before class last Tuesday morning. “She’s such a caring and passionate leader. Taryn really looks at each dancer in the second company and finds what exactly it is that will take them to the next step. Because of that, we progressed really quickly.” With this close bond, Kaschock Russell was the perfect person to ask what it is about these two that impressed her. On Schultz: “He is a never-ending ball of energy and curiosity. He is willing, always. He has grown exponentially over the course of two years and added texture and versatility to his already dynamic stage presence. He soaked up every bit of information that he could get his hands on from me and all of the choreographers and colleagues he worked with. Don’t get me wrong, he’s also a handful – in a wonderful way. You have to keep your eye on that one.” On Klock: “Alice has an intelligence that often stops me in my tracks. When I first began working with her, I was taken by her physical beauty and long lines. When she attended the summer program, she was very timid and a bit like a young fawn on those beautiful legs of hers. During her two years with HS2, she went from that understated shy presence, unsure of her place in the room, to eating up the stage with her every movement. She commands attention, her stance is strong and her gaze unyielding. ”

Come see Klock, Schultz, along with new HSDC company member Garrett Anderson this week (Oct 13 – 16) at the Harris Theater (205 E. Randolph)as Hubbard Street presents their Fall Series. On the program, a world premiere SCARLATTI by Twyla Tharp, Nacho Duato’s Archangelo and Walking Mad by Johan Inger. Tickets can be purchased by calling 312.850.9744, 312.334.7777 or by visiting the Harris Theater box office.

Joffrey Waxes Quixotic

Posted on October 10, 2011 by Vicki

Joffrey dancers Victoria Jaiani & Miguel Angel Blanco. Photo by Sandro.

This Wednesday, October 12th, Joffrey Ballet premieres a new version of Don Quixote at the Auditorium Theatre. The two act re-envisioning of Cervantes classic literary tale brings humor, drama and love to life with bravura dancing and a dash of horseplay. Choreographed by Yuri Possokhov (former star of the Bolshoi Ballet and current resident choreographer at San Francisco Ballet), the ballet promises to continue the Russian classical traditions, while adding in his charismatic flair. Possokhov delighted Chicago audiences last spring with Joffrey’s premiere of his commissioned work Bells. His history with Don Q is long. “I was ten years old first time I dance in this ballet,” he says in halted English at an Artists Talk Series lecture hosted by Instituto Cervantes last week. The Bolshoi is the only company to keep Don Q “alive” in it’s rep with every generation passing it on to the next. “It’s a gift for him to pass onto this generations of Joffrey dancers,” says Artistic Director Ashley Wheater of Possokhov’s vast base of knowledge with this ballet. “I think the company will grow into it.”

How do you take a classic that’s over 140 years old and make it fresh? “I had to make some twist, something that belongs to this city, this company,” says Possokhov. That twist includes a more dancing for Don Quixote, which is traditionally more a character role, projections and video by Wendall Harrington integrated to help particularly in the dream sequences, plus a life-size horse puppet created by Von Orthal Puppets operated by male dancers in the company (insert horse’s ass joke here). Along with the lively score by Ludwig Minkus (played live by the Chicago Sinfonietta, the Joffrey-ized Don Q will surely keep you on the edge of your seat. Shortly before Possokhov was set to come to Chicago to set the ballet, the Golden Gate Park Windmills, which had been under restorative construction for years, began to spin. “Is good sign.”

Joffrey Ballet presents Don Quixote, Oct 12th – 23rd

Auditorium Theatre, 50 E Congress

Tickets: 800.982.2787 or 312.386.8905

The Joffrey Academy of Dance, the Official School of the Joffrey Ballet, is offering a Don Quixote-themed master class next Monday, October 17th at 5:30 pm. Taught by dancer Ericka Mac, the class gives a brief history of the story and choreography, as well as giving a fun barre warm up and teaching the steps of Kitri’s (the female lead) solo. The class is for students of all levels and ages.

Joffrey Tower, 10 E Randolph, $15, or $10 with a valid college ID.

Reservations: reception@joffrey.org or 312.784.4600

The Interview

Posted on October 6, 2011 by Vicki

On a sunny morning in early June, I was in a cab heading to the West Loop studios of Hubbard Street Dance Chicago. It’s standard procedure at this point for me to watch rehearsals or steal a few minutes with a dancer or someone on the artistic staff to chat about an upcoming show, but this morning was different. I was going to interview Twyla Tharp. I was getting twenty minutes face-to-face with a legend. To say I was nervous is a serious understatement, but I was determined to rally all of my confidence and go for it. In my research for this meeting (which included reading her two newest books The Creative Habit and The Collaborative Habit), I found Tharp often quoted saying, “If you’re not early, you’re late.” Leaving nothing to chance, I was in the lobby of the studio 45 minutes ahead of our scheduled interview time going over the questions in my head and trying semi-successfully to not freak out. (In fact, Communications Manager Farrah Williams later told me I looked like I was going to throw up. Great.)

Truth be told, I’d been obsessing about this interview ever since I got the “ok” from my editor weeks prior. I had pitched it hard, eventually annoying her into agreement. My inner mantra was: Don’t f*#^ this up! Advice from a dancer that worked with Tharp frequently (who shall remain nameless): Be prepared. Don’t waste her time. Roger that! I was definitely prepared, but the problem with the twenty minute time frame is I knew I wouldn’t be able to ask her all of the questions I wanted. Let me set the record straight. I gained press access to Ms. Tharp because I was writing a story for CS Magazine*, not because of Rogue Ballerina. I’m sure my little dog-and-pony show would not register on the press map to someone of her caliber, plus I heard she does NOT like bloggers. However, I was hoping for the chance to include a couple of questions beyond the scope of the CS readership.

I was escorted upstairs and down a long hallway behind the studios. No turning back now, it was time. First impression: she’s tiny! She’s smaller than I thought she’d be, but otherwise looked just like…well, Twyla Tharp. Petite, but with an enormous presence. Smart, dry, direct, intense. Intimidating. Completely daunted, I forged ahead with my questions punctuated by my trademark idiotic nervous laughter. The next twenty minutes quite frankly is a blur. It went by way too quickly and I came out thinking I was somewhere between having been eaten alive and having held my own. I had survived. Luckily, I have the entire conversation on tape! Upon listening, I found Ms. Tharp to be quite generous and genuine. She has a biting sense of humor that I think, because of her extremely analytical mind, doesn’t come always across. For instance, when I asked my final question – if you went back to your parents’ drive-in movie theater and saw the story of your life on the screen, what would it be titled? – after commenting on what a bizarre question that was (which I took as a complement), she went on to analyze if it would work, how it would work, why it would work, what would be in it, plotting scenes, wondering who would be changing the marquee and then deadpans, “Shirley MacLaine could play me now.” We discussed her process, her habits, her books, what she’s reading and the dreaded subject of getting older. We did not discuss her upcoming work for HSDC. It was still in the planning stages. I would’ve liked to talk to her more about her writing process and asked about her collaboration with musician/composer Danny Elfman, but time ran out.

Here are some excerpts of our conversation that didn’t make it into the article for CS (reprinted in Front Desk Chicago – images below)*.

Congratulations on the Spotlight Award.

Thank you. You’re very kind. As far as I’m concerned, I’m handing it right back to Lou (Conte).

Because you do have quite a few awards already…what makes this one special? Is it the fact that Lou is coming back to give it to you or is it the relationship that you have with Hubbard Street?

It’s not about awards; it’s about work. Lou is a phenomenal legend – a Chicago legend. I’m always, always happy to see him. He’s an honest guy. I really value that. He’s built around his abilities and talents and able to grow it into what is essentially one of the very few repertory companies in America for modern dance. There are numbers of repertory companies for ballet, but very few for modern dance. This is going to become more and more of an issue in the future because will single company founders passing away…Graham, Cunningham, Paul’s in his 80s, I’ve already disbanded the company because I was curious about investigating what happens after you die? Which was my experiment. It’s still my experiment. I kind of look at it as I’m visiting into the world after I’m gone to see both what I can still do in terms of working with the talent and with the – and I really don’t like this word – legacy. The work that’s been done previously, how has it taken hold? How has it imbedded itself, so when I come back 15 years later, what’s there that I can pick up on? What’s made a difference? What has mattered to these dancers? What has been useful to them? That’s sort of a privilege that I have to go back and try to explore…excavate in a way. It’s like archeology.

After 15 years, how did this new collaboration come about? Why did you decide this is the right time to come back?

Well, Glenn (Edgerton) asked if I might do a piece and I was able to put the time in place to do it. Also, it’s always a good time to go back and regroup. 2015 is my 50^th anniversary of work and we’re already starting to develop the platform that we’ll present that year. We’re putting up a new website that is going to give a much more comprehensive overview of things. I’m working on a full-length ballet, a narrative ballet…of a lot of lessons learned and questions asked. I think this is something of the same thing. It’s a revisitation to roots to see where…roots is a bad analogy, because plants don’t grow fast enough. We only have 3.5 weeks to grow this plant, to see where we can get it to. In particular, it’s about the women here. My first group from 1965 – 1970 was all women. We worked in a very different way, different than anybody was working at the time. In being only, not only, but having no men in the group, we pushed ourselves physically as hard as possible. There was no, “ok the guys can do this”. If we wanted jumping, we jumped. If we wanted partnering, we partnered. We developed physically in different ways and we also developed emotionally in very different ways. The women in this company are closer to that ethos than most women in dancing are. It’s about using their courage.

Are you comfortable being labeled a genius?

It’s a ridiculous word. Everyone has a genius. Everyone has a spirit, a spark inside that’s very, very special. There are those who are both fortunate and who have been corralled enough by resourceful human beings to develop discipline. It’s the ones who manage to discipline that spark, to harness that spark that get labeled with this nomenclature. The romance of the genius is ridiculous. Part of genius is the guidance system that one grows up within.

"The Tao of Twyla" - CS Magazine

"Dance Diva" - Front Desk Chicago

See Twyla Tharp’s World Premiere SCARLATTI for Hubbard Street Dance Chicago next week at the Harris Theater! Tickets: 312.850.9744, at HSDC (1147 W Jackson) or in person at the Harris box office (205 E. Randolph).

Thoughts on Luna Negra ¡Mujeres!

Posted on October 3, 2011 by Vicki

Luna Negra dancers in "Naked Ape". Photo by Cheryl Mann.

Saturday night at the Harris Theater, Luna Negra Dance Theater presented ¡Mujeres!, a one night only show celebrating influential Latina women. Since installing Gustavo Ramírez Sansano as Artistic Director in 2009, Luna Negra has quickly become one of my favorite companies to watch. The new artistic vision and technical ability of the dancers are similar to the style of Hubbard Street Dance Chicago (It was nice to see many HSDC-ers in the audience!) and is a decidedly different direction from the former Luna. For the performance, I think I had the best seat in the house (V 106). It was the “center stage” spot in the audience. I normally sit closer and did miss seeing more of the facial expressions (I didn’t have my glasses), but this seat provided the perfect perch to view the complex patterns and minimal sets. I was excited to see the first piece, Sansano’s world premiere Not Everything, which I’d seen earlier in the month in rehearsals. It not only did not disappoint, but was the best number in the show.

Not Everything was inspired by a photograph by Graciala Iturbide that caught Sansano’s attention at an exhibit in Spain. Opening with a powerful female duet by Renée Adams (in all black) and Mónica Cervantes (in all white), he sets the mood and stage by having Adams intermittently carry a large bucket across and upstage following the path of white linoleum strips laid in an L shape. The weight of the bucket, which we find out at the end of the duet, is loaded with red paint alludes to the heavy internal burden the woman in white (Cervantes) is carrying. Adams pours the paint onto the white strip in a big puddle, unburdening herself before she leaves the stage. The second section, much faster and frenetic, adds in the rest of the company dressed all in black. The dark costumes and dark lighten sometimes made it difficult to see all of the movement. This energetic section personified the flux the woman in white is feeling. The choreography seemed to be controlled chaos with an underlying back and forth swaying that carries over into the final section. That subtle, lulling, repetitive movement assures that the chaos will come to an end. The dancing is so unique and interesting, you barely notice the white panel being slowly lifted to the left, causing the paint to run. The third section is performed in a vertical line moving from stage left to stage right. Cervantes, second from the front, slowly walks undeterred across the front white panel. All the other dancers, in black, dance in front of and behind her pace in a continuous cannon reminding us of the chaos in her mind as she slowly and steadily walks forward. The final image has Cervantes walking in front of the white panel that is now fully vertical with the paint running down recreating the picture that inspired the work. The music, sets and dancing were all beautiful. The final image – stunning. Congrats to Sansano for achieving another remarkable choreographic feat. I, for one, look forward to watching his work for many years.

The second piece, another world premiere, is inspired by the first queen of pre-modern Spain. Asun Noales’ Juana is another dramatic, black and white dance showing the female lead’s decent into insanity. White fabric pieces hanging from the ceiling move up and down ultimately creating the tower in which the queen is locked in by her people. Veronica Guadalupe‘s interpretation of the mad queen was dramatic, strong and heartfelt. Even though she doesn’t leave the stage for the entire piece, it is ther final solo that drives and haunts. The other dancers almost seemed a distraction. The look and feel of the work was too similar to the first piece, that my companions and I questioned whether they should’ve been back to back. The consensus of the group I was with during the second intermission was that the two pieces were so much alike that it almost seemed as if Juana was part two of Not Everything.

The third work was a restaging of work by Michelle Mazanales about the life of Frida Kahlo. Paloma Querida was a big hit with the Luna Negra audience when it premiered in 2010 and the work holds up. Splashes of red and vibrant music lightened the mood created by the first two works, but there was plenty of drama and strong female dancing. Compared to the other pieces that had a more European contemporary feel, Paloma stylistically felt like old Luna. The company is strong and focused and heading in a really interesting, new direction. I’m all for keeping your roots and acknowledging where you came from, but maybe it’s time for Sansano to forge ahead with his own vision. I think the company and the audience is ready.

I want to note a few problems I had with the show. 1. With a one-night-only show, you can’t go back to see it again and this program warrants a second viewing. I want to see it again (especially Sansano’s work). 2. Dedicating the season to women naturally tends to highlight the spectacular women in the company – and that is all of them! – but, the men, who are just as fascinating to watch seemed to be overlooked. Aside from a sassy little solo by Eduardo Zuñiga in the final piece (where he literally almost danced out of his pants), the men didn’t stand out. That’s a shame.

Q&A with Luna Negra’s Veronica Guadalupe

Posted on September 29, 2011 by Vicki

Guadalupe in "Danzon". Photo by Cheryl Mann.

Saturday marks the first performance of her 10th season with Luna Negra and Veronica Guadalupe is ready. After two major injuries during her career, she’s at the top of her game and excited about the upcoming performance ¡Mujeres! at the Harris Theater. The program celebrates Latina women with three pieces: a restaging of a work Paloma Querida, inspired by Mexican painter Frida Kahlo; a premiere about the first pre-modern queen of Spain; and another premiere inspired by a photo by Mexican photographer Graciela Iturbide.

Guadalupe has been dancing since she was 2 1/2 years old and studied at the Virginia School for the Arts, danced in the second company with Giordano Jazz Dance Chicago and was an apprentice with River North Dance Chicago before joining Luna Negra in 2002. She’s now also co-rehearsal director, was one of the dancers to stay with the company after founder Eduardo Vilaro left in 2009 to run Ballet Hispanico in New York and current Artistic Director Gustavo Ramírez Sansano took over. I spoke with her two weeks ago about the transition, the company and her career.

How did you end up at Luna Negra?

I apprenticed with River North for a year and I sustained a really terrible injury when I was there. I fractured my tibia almost all of the way through and I have a titanium rod in there now. They think that I probably had a stress fracture that I danced on for at least three months. I was out for six months. After that, my leg was a noodle. I’d been on crutches for 12 weeks and in a cast for another 10 weeks…it was terrible. I was barely taking barre again when my friend wanted us to go and audition for Luna Negra. Are you kidding me? When we got to rep, luckily, everything was on the other leg! He (Vilaro) offered me a contract and I had to tell him I hadn’t danced in six months, but he was willing to give me a try. That was July 2002.

Tell me about the transition. When Eduardo left, you were one of the only people who stayed…

I’d left for a brief period of time, while the transition was happening. When Eduardo announced he was leaving, almost immediately Michelle Manzanales and another board member contacted me and wanted me to come back. I did a fall season as a guest artist and I was part of the search for the new Artistic Director. I was the only one to have worked with all of the candidates. I could tell the dancers what it was like to work with them and tell the board and search committee what my experiences had been with these people. I told them flat out there was only one person I would come back for. Gustavo choreographed on us in 2002 and he worked with us two other times. I said, he’s the only person who can take the company to the next place. He was my choice. I told the board that this is what the company needs. It worked out perfectly.

The company looks completely different now. How was the transition?

The transition was really smooth, because we did have a change over with dancers too, so we had a lot of new people starting over. I think that was really important. When we signed him, he couldn’t come here for a few months and I think a lot of dancers were thinking selfishly about what they would do in the meantime, instead of what would be good for the company as a whole. I think it was important to have a group of dancers that could begin new with this new era.

How do you like the difference in style of dancing?

I love it. I think it’s fresh and new and exciting. I think it’s shaking up the Chicago dance community. It’s something they haven’t seen before and no one else is doing it. It’s incredible.

Let’s talk about your dancing. Are you in all three pieces in !Mujeres!?

Yes. I’m resetting “Paloma Querida”. Michelle (Manzanales) came in for a weekend and worked with us. She made a lot of changes. It’s almost like a new piece now. The heart of it is still there, but she did a lot of structural changes that I think made a big difference. She was very respectful that these weren’t the same group of dancers that I worked with before and let’s utilize what we have now. She made some really great changes.

Tell me about the two world premieres.

“Juana” – oh, I’m Juana! – she was the first queen of modern Spain. Her story is she fell in love with this guy Phillipe. They called her Juana Loca and he was Phillipe Hermosa. Phillip the beautiful and Juana the crazy. She was crazy in love with him and he cheated on her left and right. When he died, she went totally crazy and was obsessed with him even though he was dead. It drove her mad. Her family left her. The country wouldn’t entrust her with the power of being queen, so they locked her in a tower to die.

Do you get a crazy Spanish Giselle mad scene?

Kind of. It’s a hard balance. At first, I was focusing more on the emotional and dramatic aspect of it and then she (Asul Noales) threw a whole bunch of dance in. I don’t leave the stage for 21 minutes. It’s intense.

(Gustavo’s piece) “Not Everything” is inspired by a female photographer. It’s just so beautiful. The music…it a very intense piece musically. There’s a really soft beginning with just Mónica (Cervantes) and Renée (Adams) that lays the groundwork from the picture. The group section is…it’s the hardest thing I’ve ever done in my life. It’s so fast. We were watching rehearsal footage the other day and someone said it looked like it was in fast forward. It feels like it’s in fast forward! This is the test, the challenge…he’s throwing the hardest thing at us right now, because we have to get it. We’re performing it in a couple of weeks. The third section is the most beautiful music and it totally changes directions.

Luna Negra – ¡Mujeres!, Saturday, October 1, 2011 @ 630pm

Harris Theater, 205 E Randolph, 312.334.7777

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