Preview: Luna Negra ¡Mujeres!

Posted on September 28, 2011 by Vicki

"Los Pollos, Juchitan, Qaxaca" (1979) by Mexican photographer Graciela Itrubide.

Luna Negra Dance Theater presents ¡Mujeres! this Saturday, October 1st at the Harris Theater. Mujeres, or woman, is the driving force of an evening showcasing the Latina woman in various forms: a premiere by a female Spanish choreographer about the first queen of pre-modern Spain, a reworking by a Mexican-American female choreographer about a Mexican female painter, and a premiere of a new work inspired by a female Mexican photographer. Touted as “a celebration of globally influential Latinas”, the one-night-only show kicking off Luna’s 2011-2012 season, comes in the middle of Hispanic Heritage Month. Featuring choreography from Artistic Director of Otra Danza, Asun Noales, former Luna dancer and Rehearsal Director of Ballet Hispanico, Michelle Manzanales as well as a world premiere from Luna Negra Artistic Director Gustavo Ramírez Sansano, the seasons opens with a bang!

Earlier this month, I sat in on rehearsal for Sansano’s new work inspired by the photograph Los Pollos, Juchitan, Qaxaca (1979) – or The Chickens – by Graciela Iturbide (shown above). The picture captured his attention because it is her only photo in which the subject is blurred, like she’s running or trying to get somewhere. He wanted to know why. In Not Everything, set to music by Arvo Pärt, Sansano recreates the picture and adds context for the mood or actions that happen in the five seconds before she runs. An ambitious goal. “It’s like everything is good, then you get bad information and it goes from your head or brain to your heart and then your gut, then you decide to do something about it,” he explains from their State Street rehearsal studio. “I want it to have the quality of taking you on a trip.” It’s the moment the picture is taken that closes the dance. Add in linoleum set pieces that will be raised to frame the stage with liquid running down in patterns and you literally have art imitating art on the stage.

Sansano is ambitious with his choreography too. At the beginning of rehearsal, he’s cleaning a section that has at least one gesture for every count. “More legatto…a softer moment”, he says, working the nuance of every detail, squeezing emphasis into a phrase that seems to have no more room. With verbal counts, the movements seem quick and hard to place together. Run with music, it’s faster, but flows together organically. The dancers seem to take it in stride. Now on to the fast section, which dancer and co-rehearsal director (she shares duties with Mónica Cervantes) Veronica Guadalupe says is “the hardest think I’ve ever done before”. She nods to indicate that this is it. Complex patterns, high energy movement, split-second drops to the floor with seemingly effortless recoveries, singular moments of pause only to join back into the group a few seconds later like nothing happened all to driving, dramatic music. With the music off, you can hear the heavy breathing and almost forget how easy they made it look. Almost. My response was “holy s*^t!”

And that’s just the opener. Asun Noales, in her Luna Negra debut, created a full company piece inspired by Juana la Loca (Juana the Mad). The dramatic story of the first queen of pre-modern Spain, danced by Guadalupe, incorporates intense love, grief, richness and madness to a score by Tomás San Miguel. Rounding out the show is a revamped version of Paloma Querida (Beloved Dove), which Luna performed right before Sansano took over directorial control from Eduardo Vilaro. Michelle Manzanales came back to set her piece based on the work of painter Frida Kahlo on the new Luna dancers. The was a huge hit with the audience back in 2010. I’m curious to see it set on a different group of dancers.

I’ve been telling pretty much anyone who will listen that they need to go see Luna Negra since Sansano’s debut last fall (his Toda Una Vida was simply stunning). Nothing against the former company, but this group of dancers under his direction is fresh, unique, surprising and super talented. Get your tickets for Saturday’s performance before they are sold out. I promise, it will be worth it.

¡Mujeres! – Luna Negra Dance Theater, Saturday, October 1 at 6:30 pm, Harris Theater, 205 E Randolph, $25-$65, 312.334.7777

Proud Mary

Posted on September 20, 2011 by Vicki

Inaside dancer Mary Williams. Photo by Eddie Eng.

Mary Williams will take her final bow this Saturday night after performing in the one-night-only show Constant Motion at the Harris Theater. This show is the first in a series of shared performances of Chicago dance companies funded in part by the New Stages for Dance Initiative, a program brought to Chicago through the local dance service organization Audience Architects in partnership with Dance USA and MetLife. Constant Motion pairs Inaside Chicago Dance* (ICD), where Williams is a dancer and Marketing Director, and Cerqua Rivera Dance Theatre (CRDT) for the evening-length program.

ICD starts the show with four numbers, plus a piece by their Youth Training Program dancers, then CRDT takes the stage with their signature live musicians and both groups participate in a collaborative finale choreographed by Artistic Directors Richard Smith (ICD) and Wilfredo Rivera (CRDT). Although stylistically different, the two companies come together (with the help of the initiative) to bring their talents to a larger venue than either one could secure alone: the Harris Theater. For Williams, it’s a pinnacle moment in her career.

Growing up in a small Michigan town, she started taking ballet class at age three and then got into Jazzersize (hilarious, but no joke). When a new dance school opened in town, she began taking classes and eventually danced competitively. College studies followed at Western Michigan University, with a double major in Dance and English. Williams had her heart set on moving to New York City, but landed a scholarship at Giordano Jazz Dance Chicago and moved here instead. During that first summer on scholarship, a fellow dancer asked her if she wanted to come with her to an audition. Of course, the energetic 23-year-old said yes and was asked to be an apprentice with Inaside. She’s been there ever since. Now, at 30, she’s decided it’s time to take a break from dancing and focus on other aspects of her career. I chatted with Williams last week around 10:30 pm, after she spent a long day (12 hours to be exact) rehearsing and teaching.

Inaside dancer Mary Williams. Photo by Eddie Eng.

Tell me about the show and the collaboration.

Some of the great things about this collaboration, from a marketing aspect and as a behind-the-scenes person, we’ve been able to see a whole other group just like us…their system…how they do it, how they work together compared to how we work together…tricks of the trade. I know a lot of their dancers, so it’s been fun. It’s hard because we’re putting together two companies. I think we’ve had four rehearsals. It’s so fun when we get to do Wilfredo’s choreography. I think the dancers on both sides really liked it. It’s like having a guest artist come in.

CRDT dances to live music. How was it adjusting to dancing to live music for the final piece?

We have our first rehearsal with live music on Sunday! We’ve been working off of a recording. I think it will be exciting. It brings an element of surprise and almost improv into it.

Why did you decide to retire now?

I feel like dancing-wise I’m doing really great. I know the young talent that is coming up is exceptional. Right now, when I’m at my peak is a great time to stop dancing. Other than that, it’s very consuming. It consumes your life. Especially with the marketing…having these twelve hour days…they’re brutal and you start to feel it after a while. It’s been a hard decision to make, but I’m kind of excited to take the next step in my life and career.

What’s next?

I’m staying on as Marketing Director and I hope I can still come take class and keep up with my craft. I’m still teaching kids, but I want to be able to take class. I was recently named Dance Coordinator at Des Plaines Park District. I’ll be working in the dance office, getting to know the program, talking to parents, etc…kind of like my office job. I just won’t be a dancer on stage.

Since your last show is next week, what are you feeling?

I have so many different things going on. I’m excited about the show. It’s this huge, awesome event. It’s not going to hit me that I’m not going to be dancing with the company anymore until I sit in the audience and watch them perform. I feel like I should be focusing on the show more now, but you’ve gotta work, do the marketing…all this other stuff in life. Right now, I’m being pulled in a lot of different directions, which I think is distracting me from the reality that I’m not going to be a dancer any more.

The day after the show might not be so fun.

I’m probably going to cry a lot. I’m very emotional.

But, what a way to go out!

I can leave with a great sense of accomplishment. I set out to be a dancer and I did it! I followed my dreams. It’s so cheesy, but it’s true.

Are you looking forward to a little bit of a break?

Yes. I’ll get to eat. I’m kind of excited about that. I never starve myself, but you watch what you do. I’m looking forward to some free time and spending time with my husband. That will be nice.

Constant Motion: Inaside Chicago Dance & Cerqua Rivera Dance Theatre – Saturday, September 24th, featuring choreography by Harrison McEldowney and Tony Savino, Autumn Eckman, Eddy O’Campo, Richard Smith and Wilfredo Rivera.

Harris Theater, 205 E. Randolph, 312.334.2400, Tickets: $25-40,

*Disclosure: I’m a former board member for ICD and currently serve in an advisory capacity and with special projects.

Joffrey Nutcracker Children’s Audition

Posted on September 14, 2011 by Vicki

Anastacia Holden as Clara in Joffrey's "The Nutcracker". Photo by Herbert Migdoll.

This Sunday, September 18th the Joffrey Academy of Dance is holding a children’s audition for the Joffrey‘s 2011 production of The Nutcracker. If you are between the ages of 9 and 14 (as of this Sunday) and between 4′ and 5′ tall, you could be a part of this wonderful holiday classic. For the children’s cast, rehearsals will be held throughout the months of October, November and December and you must be available for performances between December 9th and 27th, 2011.

The audition will be held at Joffrey Tower (10 East Randolph). All participants must bring a completed audition form (available here) and a photo or headshot. There are three audition times with registration being open for one hour prior to the audition. Here’s the breakdown:

1st audition time: 10-11:30am, 4′ – 4’5″, ages 9 – 11

2nd audition time: 12- 2:30pm, 4’5″ – 5′, ages 10-14

3rd audition time: 3-4:30pm, 4’5″ – 5′, ages 9-10

All dancer should be prepared to stay until 5:00pm! For more information: 312.784.4600 or email reception@joffrey.org

Break

Posted on September 9, 2011 by Vicki

RB took a little time off after the Chicago Dancing Festival (CDF), but now I’m back and ready to go! Coming up: interviews/previews with Luna Negra (Veronica Guadalupe), Inaside Chicago Dance (Mary Williams), Joffrey Ballet (Michael Smith), Hubbard Street (David Schultz) , Smuin Ballet (Jonathan David Dummar) and even a little chat with Twyla Tharp!

Keep a look out for changes/additions to the blog in the coming weeks, but in the meantime, here are some beautiful pics from CDF finale by the gorgeous and gracious mama-to-be Cheryl Mann.

Michelle Fleet and the Paul Taylor Dance Co in "Esplanade".

NYC Ballet dancers Tiler Peck & Gonzalo Garcia in "Tchaikovsky Pas de Deux".

Martha Graham dancer Xiaochuan Xie in "Diversion of Angels".

Joffrey's Temur Suluashvili & Victoria Jaiani in "Stravinsky Violin Concerto".

CDF11 Wrap Up

Posted on August 31, 2011 by Vicki

Aspen Santa Fe Ballet in "Uneven". Photo by Cheryl Mann.

Last week was quite a week for dance in Chicago. The Chicago Dancing Festival (CDF) presented five free nights of dance to eager audiences with an estimated 19,000 in attendance over the course of the week. Many thanks and much gratitude to the CDF staff – Evin Eubanks (Executive Director), Todd Clark (Director of Production), Natalie Williams (Admin Assistant) and of course co-founders/Artistic Directors Lar Lubovitch and Jay Franke for showcasing such phenomenal talent and giving the city another chance to shine. Mayor Emanuel attending three nights of dance has secured his place as dance in Chicago’s biggest fan. I was lucky to be able to attend each night of the fest (I missed the free dance movies day) and I have to admit I was a little disappointed this Monday night when there wasn’t a kick ass show to go see. Spoiled, but grateful.

Here are links to my coverage of the CDF events: Opening Night Gala, Moderns, MCA Moves, Masters, Muses and Celebration of Dance. Some of the highlights for me were Richard Move, Hubbard Street Dance Chicago (Too Beaucoup, Petite Mort), Lar Lubovitch Dance Company (The Legend of Ten), Paul Taylor Dance Company (Eplanade) and New York City Ballet artists Tiler Peck and Gonzalo Garcia (Tchaikovsky Pas De Deux). I was surprised how much I enjoyed the Martha Graham Dance Company, Doug Varone and Dancers and Walter Dundervill’s work. I can’t wait to see who CDF will bring in to perform next year. Plan ahead: you won’t want to miss CDF2012!

Let me know what you think! Did you go to any of the CDF shows? What was your favorite? Are you now a fan of a company you’d never seen before? What would you like them to do differently next year? What companies would you like to see at CDF 2012?

CDF11 Celebration of Dance

Posted on August 29, 2011 by Vicki

River North Dance Chicago performing "Nine Person Precision Ball Passing". Photo by Cheryl Mann.

Saturday night was beautiful. The weather, the venue, the dancing. The perfect night to hold an outdoor, free dance concert for the city of Chicago. At Pritzker Pavilion in Millennium Park, Mayor Emanuel took the stage to introduce the final night of the Chicago Dancing Festival (CDF) and vowed to take the now five-day fest up to six days of free dance events next year. Dubbed a Celebration of Dance, the entire evening was just that. Some of the best dancers in the country came together to dance works by Kylían, Balanchine, Graham and Taylor for the estimated 10,000-12,000 people in attendance. Even the fabulous Gehry-designed concert venue could not compete with what was happening on the stage.

Ballet West, under the direction of former Joffrey dancer and Ballet Master Adam Sklute, opened the show with Jirí Kylían’s Sinfonietta. This troupe won a Chicago following last year when they performed Balanchine’s Serenade at CDF. Program notes declare Sinfonietta is “a celebration of our earthly life” and with joyous jetés and rousing score, it proved to be a pitch-perfect opener for our celebration. A black back drop with sparkling lights like stars came clearly into focus when the piece finished just as the sun set and the stars overhead came out. Timing is everything. The woman sitting next to me literally jumped out of her seat in excitement as the piece ended. She seemed embarrassed at first until she realized she wasn’t alone. This was the first of many mini standing ovations of the evening (most of which were started by the Hubbard Street dancers in the crowd). River North Dance Chicago (RNDC) followed with Charles Moulton’s post-modern Nine Person Precision Ball Passing. For the third time this week, RNDC took their places on three tiers to perform the brain-teasing work which has seven minutes of fast ball exchanges in every possible configuration. It is clear that the dancers have it embedded to memory as they performed it perfectly, even throwing in some sassy faces and attitude. It’s a fun work that drew giggles and appreciation. Now if I could only get that pinball-synth score out of my head.

Joffrey Ballet performed George Balanchine’s difficult and folksy ballet Stravinsky Violin Concerto. The large group piece features two duets (Victoria Jaiani and Temur Suluashvili, Valerie Robin and Fabrice Calmels) to arias mixed in with all male and all female sections. This work is at times difficult for me (why is she doing inside/out back bends? why are they making a thumbs up sign and waving at each other?), but it was performed with flair and verve. With fire engine sirens in the background, Joffrey showed the hometown crowd what it’s made of – strong technique, charisma and love. (Shout out to Derrick Agnoletti for his fierce pas de chats!) Martha Graham Dance Company took the stage next in Diversion of Angels. Graham’s trademark pitches and contractions were staples, but with lyrical passes and beautiful lifts mixed in. Carrie Ellmore-Tallitsch, Ben Schultz and the gorgeous Xiaochuan Xie were stand outs.

Principal dancers Tiler Peck and Gonzalo Garcia from the New York City Ballet (NYCB) wowed the crowd with a stunning performance of Balanchine’s Tchaikovsky Pas De Deux. The virtuoso duet showed the amazing technique, performing chops and musicality of the dancers. Peck, aside from one slight bobble en pointe, was impeccable. Her pointe work, her presence, her extensions, her turns, her playfulness all came together at warp speed. I felt like a little girl seeing something so amazing that it changed my life. (Mommy, I want to be a ballerina!) I had goosebumps and yes, I was one of the many shouted bravo during bows. The excitement carried over to the final piece. The crowd was ready and Paul Taylor Dance Company did not disappoint. Taylor’s Esplanade set to Bach concertos was original inspired by a woman running to catch a bus. The piece incorporates common human gestures with innovative partnering (a promenade with a woman standing on the man’s stomach), ridiculously fast footwork (Michelle Fleet’s solo was lightening fast!), running passes and a little romance. The dancers were joyful with smiles on their faces as if they were having the time of their collective lives. The audience was too. *Insert full standing ovation here.

Every year, a random bird makes an appearance in the show, flying about the stage above the dancers as if it is so caught up in the moment that it wants to be part of the performance. I imagine much of the audience felt exactly the same way. Just when I thought it couldn’t get any better, it did. Multiple times. Every day the festival got better and better and I can honestly say (although I didn’t “get” some pieces) I enjoyed watching every single dance. Lar Lubovitch, Jay Franke and Evin Eubanks deserve great thanks and kudos for pulling off this hugely successful dance festival. I wonder how they’re going to top it next year.

CDF11 Muses

Posted on August 29, 2011 by Vicki

Hubbard St dancers Ana Lopez & Benjamin Wardell in Cerrudo's "Maltidos". Photo by Todd Rosenberg.

Dance writer/critic/historian Lucia Mauro opened Chicago Dancing Festival‘s (CDF) Muses program (Friday, Aug 26 on the MCA Stage) by distinguishing the difference in meanings of the term muse. In ancient Greek mythology, the work referred to “beings who imparted knowledge. They were empowered beings, the sources of greatness”. But today, we refer to a muse as someone who inspires artistic creation. After giving a brief list of famous choreographic partnerships (Balanchine and Farrell, Tharp and Baryshnikov, etc.) Mauro set the stage for the discussion to follow with Lar Lubovitch, Alejandro Cerrudo, Janet Eilber and Bettie de Jong that dealt with the artist/choreographer relationship. Is it “control or collaboration”? And how has that relationship been defined historically and is it being redefined now?

Hubbard Street Dance Chicago‘s (HSDC) resident choreogher Alejandro Cerrudo subscribes to the “two brains think better than one” theory and tends to use a collaborative approach with his dancers. After praising the HSDC dancers many talents, he says, “anything the dancers give me is valid” and states simply, “I became a choreographer to become a better dancer.” HSDC dancers Ana Lopez and Benjamin Wardell (frequent muses for Cerrudo) danced the final duet that was created on them from Cerrudo’s 2010 work Deep Down Dos. Wardell is leaving HSDC to pursue independent projects. I’m really going to miss these two artists dancing together. They seem to have a kinetic ESP that drives their duets.

Janet Eilber, Artistic Director of the Martha Graham Dance Company told stories about working with the iconic choreographer in the 70s. Eilber took over many of Graham’s roles once she was retired from dancing and said the best advice she ever gave her was to always create an internal monologue. “You have to talk to yourself the whole time,” Graham advised her. Eilber also talked of how Graham had changed after a leave of absence from the company (depression and an extended hospital stay). Once back, the way she choreographed changed to “visually instead of viscerally”. Clips were shown of Eilber dancing in Graham classics Frontier and Clytemnestra.

Bettie de Jong, Rehearsal Director for Paul Taylor Dance Company brought her considerable personality and humor to stories of working with Mr. Taylor.”Unlike Martha, he doesn’t like to talk about the dances he’s making…maybe two words”, she says. “His dances had an animal instinct, a dark side, a musical side, a funny side.” Clips of her dancing with Taylor were shown including Esplanade and Big Bertha.

CDF co-founder Lar Lubovitch came last and promptly rearranged the two chairs on stage into a more pleasing configuration (he admitted it had been bothering him the entire program). Once settled, he explained that his approach to choreographing is to tell the story of the music. The dancers need to embody the music. “My relationship with my dancers is based on who they present themselves to be,” he says adding, “there has to be a bond of trust in the room. We trust and therefore can be free and therefore can create.” An excerpt from HISTOIRE DE SOLDAT, Three Dances: Tango, Waltz, Ragtime (2011) with three of his dancers followed telling a story with dark humor of a soldier, a princess and the devil. Mauro opened the floor up to questions from the audience before wrapping up a lovely discussion on dance, history and the choreographic process.

CDF11 Masters

Posted on August 26, 2011 by Vicki

Hubbard Street's Jesse Bechard & Ana Lopez in "Petite Mort". Photo by Cheryl Mann.

The Chicago Dancing Festival (CDF) Masters program last night at the Auditorium Theatre was a spectacular night of dance. The packed house was jazzed and ready for a great show giving Mayor Emanuel (who was in attendance again this evening) thunderous applause for just being there. It doesn’t hurt that he’s also the city’s number one dance advocate and biggest fan. The show opened with Hubbard Street Dance Chicago (HSDC) performing Jirí Kylían’s Petite Mort (1991), a gorgeous work to two Mozart piano concertos that has been in their rep since 2000. Between the music, the choreography and the beautiful dancers, it really doesn’t get any better than this. (I told Artistic Director Glenn Edgerton at intermission that I was getting tired of trying to find new words to describe HSDC and that I might just have to make something up. Stellatasticerifficabulous? Nah, that’s harder to say – and type – than Suluashvili!) Anyway, the bar had been set.

River North Dance Chicago in "Nine Person Precision Ball Passing". Photo by Cheryl Mann.

River North Dance Chicago (RNDC) followed with Charles Moulton’s Nine Person Precision Ball Passing (1980) which they performed earlier in the week at the opening gala. On Monday, RNDC performed it flawlessly, but two balls during the seven-minute piece “got away” drawing giggles from the audience. Moulton told me last week that “mistakes are part of it” and that they are inevitable. With extra balls hidden in their costumes, the number kept pace and you wouldn’t know something happened except for those darn balls rolling on the stage. I liked that they dropped a ball. It shows they are human (‘cuz some of the things they can do really make you wonder) and it showed their professionalism and focus when they kept on going. Act I ended with Victoria Jaiani and Temur Suluashvili from Joffrey Ballet dancing the Act II pas de

Joffrey's Victoria Jaiani & Temur Suluashvili in Act II pas from "Giselle". Photo by Cheryl Mann.

deux (1841) from Giselle. Please note: I love the Joffrey and Giselle is my favorite ballet (yes, I named my dog Giselle), so it hurts me to say that this was the weakest number in the show. Jaiani was gorgeous, as usual, but the tempo of the audio track was off. It was too fast when it should’ve been slow to show off her ridiculous extensions and slowed down during the filler parts. Plus, you really need to understand the relationship of the characters to fully appreciate what is happening on stage. They would’ve been better served doing a bravura pas from Don Quixote or Le Corsaire or even the White Swan pas they performed earlier in the week.

Martha Graham Dance Co's Carrie Ellmore-Tallitsch, Tadej Brdnik & Mariya Dashkina Maddux in "Embattled Garden". Photo by Cheryl Mann.

The second act began with the Martha Graham Dance Company in Embattled Garden (1958). I loved it! Even though it was choreographed 53 years ago, the work holds up. The sets by Isamu Noguchi looked like they were from Beetlejuice. The basic, colorful costumes and strict technique all blended into a dramatic story of biblical seduction. High drama! Artistic Director Janet Eilber came out before the piece to set up the plot and let us know what we were going to see. Smart move. Maybe this would’ve helped with the Giselle pas. The Eve character’s (danced by Mariya Dashkina Maddux) hair was a character unto itself, whipping violently back and forth to the music as if it had its own choreography. The Masters program closed with

Lar Lubovitch Dance Co in "The Legend of Ten". Photo by Cheryl Mann.

Lar Lubovitch Dance Company in The Legend of Ten. Choreographed by CDF co-founder Lar Lubovitch in 2010, the piece for – you guessed it – ten dancers was wonderful. Set to two movements from Brahms’ Quintet for Piano and Strings in F Minor, Opus 34, Legend showed that Lubovitch is a master with not only movement, but music. The seamless flow of the dancers’ energy was hypnotic. It could literally lull you into a stupor, but then you would miss the quick little solo turns by each dancer and the smart, luscious partnering by Jenna Fakhoury and Reid Bartelme.

The main thing I’ve noticed in this week of dance so far is the appreciation and appetite for dance in Chicago. The audiences have been attentive and generous and eager for more. That’s my kind of town!

CDF11 MCA Moves

Posted on August 25, 2011 by Vicki

Richard Move as Martha Graham. Photo by Josef Astor.

Foreshadowing the evening to come, the title of the Chicago Dancing Festival‘s second consecutive free night of dance, MCA Moves, proved to be right. The night was Move’s. Richard Move, Artistic Director of Moveopolis!, TEDGlobal 2011 Oxford Fellow and impersonator of the iconic Martha Graham, hosted the program as Graham. With costume changes, quips and quotes, he offered insights littered with history into her persona by becoming – in spirit, cadence and mannerisms – Martha. Joined by two young dancers (Deborah Goodman and Sandra Kaufman), he/she led a class Graham technique mini-class (“contract, release, repose”) and later performed his solo Lamentation Variation, an homage to Graham’s version commissioned by her company in 2007. Quite frankly, he stole the show. (Honestly, any show that starts with a dude in drag as emcee – I’m in!)

There were two shows this evening at 6pm and 8pm. I attended the second showing. Two pieces from Monday night’s opening gala performance were on the program – Shaker Interior from Snow on the Mesa (1995) by artist from Martha Graham Dance Company and Brian Brooks Moving Company‘s duet from MOTOR (2010). One I liked more the second time around and the other less. The precision athleticism of MOTOR that enthralled on Monday wasn’t there. The men were out of sync and looked tired. Perhaps, two shows back-to-back for this number was too much. Shaker Interior, by contrast, seemed more subtle and fragile this time. The female dancer (Xiaochuan Xie) performed the piece topless, which made more sense contextually than the white leotard she wore on Monday. There is a moment when she is kneeling on the floor with the man (Tadej Brdnik) sitting on a bench next to her and she slowly lifts her hand up so the back of it lightly touches his back and he moves ever so slightly in acknowledgement…it’s breathtaking.

Lucky Plush Productions piece Habituation (2010) incorporated everyday gestures and humor to deliver a clever dance about how they make dances. Faye Driscoll‘s If you pretend you are drowning I’ll pretend I am saving you is an excerpt of a work-in-progess not…not (2011). More performance art than technical dancing, she and Jesse Zaritt tackle the strange and sometimes awkward developments in a male/female relationship. Using their breath as music and a triangle of hot pink duct tape (did anyone else think this was a sexual reference?) as the stage parameters, they flirted, climbed, humped, bumped and writhed through their quirky attempt at a sexual bond. Sometimes funny, sometimes wtf? I’m not sure about this one. I’d like to see it again in the context of the entire work.

CDF11 Moderns Program

Posted on August 23, 2011 by Vicki

Aspen Santa Fe Ballet in "Uneven". Photo by Rosalie O'Connor.

Tonight was the Chicago Dancing Festival‘s (CDF) Moderns program at the Harris Theater for Music and Dance. The packed house was ready for a great show and CDF didn’t disappoint. Opening with Aspen Santa Fe Ballet‘s commissioned work by Spanish choreographer Cayetano Soto Uneven (2010) set the bar high. There was nothing uneven about it. The local audience (and Hubbard St fans) might have noticed some hints of Nacho Duato, Ohad Naharin and Jirí Kylían in this work, as Soto performed some of their works as a dancer. It obviously had a very contemporary European flavor and the ASFB dancers were on top of their game tonight (although it looked like the floor was slippery) as cellist Kimberly Patterson played live on stage.

River North Dance Chicago followed up with Charles Moulton’s Nine Person Precision Ball Passing (1980). I sat in on rehearsals last week after the company spent two days learning it. This speedy coordination game drew giggles and then awe as the dancers kept the balls in sequence for the seven-minute duration. The program notes call it “community art in the form of a living Rubik’s Cube” and that mistakes are inevitable. Leave it to the perfectionists at Rivno to not make a mistake. Doug Varone and Dancers finished up the first act with Varone’s Lux (2006). I really enjoyed this piece. I hadn’t seen Varone’s work or company before and wasn’t sure what to expect. When the announcer said it was set to the music of Philip Glass, the two ladies next to me said, “oh”. I’m not sure if it was meant to be good or bad, but it turned out (for me) to be good. The dancers’ movement quality was luscious and it just looked like it would be fun to dance. With a slowly rising moon on the back drop center stage, it was like a midnight frolic in the moonlight.

Adam Barruch in "Worst Pies in London". Photo by Christopher Duggan.

Adam Barruch‘s solo Worst Pies in London (2008) opened the second act. Set to music of the same name from Stephen Sondheim’s Sweeney Todd, this was really duet between Barruch and Angela Lansbury singing the vocals on track. Short, sweet and funny, Barruch looked like a young Jim Carrey with rubbery facial expressions and the flexible body to match. Closing the show was Hubbard Street Dance Chicago (HSDC) performing Sharon Eyal’s Too Beaucoup (2011). This was one of my favorite works from their last season. Androgynously clad in flesh-toned body suits with white make up, wigs and contacts, the dancers look like a group of aliens that stumbled upon a mixed cd from earth and decided to have a dance party. Weird, kooky, cool. A fun, entertaining evening. The appreciative audience agreed.

rogue ballerina

dishing on dance diva-style

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