Category Archives: contemporary

Hubbard Street’s 2013-2014 Season

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Hubbard Street dancers Jessica Tong and Jesse Bechard in Alejandro Cerrudo's "One Thousand Pieces". Photo by Todd Rosenberg.

Kylián, Naharin, Ek, Duato, Forsythe. Five big names – perhaps the biggest – in European-based choreography will be represented by Hubbard Street Dance Chicago in the 2013-2014 season. Add in a reprise of resident choreographer Alejandro Cerrudo’s full company, Chagall-inspired One Thousand Pieces, plus a world premiere from him next June and it looks to be another amazing season for the 36-year-old troupe. All performance will be held at the Harris Theater (205 E. Randolph).

I’m super stoked about getting to see One Thousand Pieces again. I was very melancholy leaving the theater last year, after seeing it for the second time. I didn’t want it to be over. Set to music by Philip Glass, Cerrudo creates a vivid, beautifully surreal world in water, glass and blue.

Over the years, Hubbard Street has challenged me to expand and/or change my perception and likes/dislikes of choreography. Some of my favorite works now are from choreographers I had never heard of growing up in Central Illinois. It will be interesting (and fun!) to see which of the five superstar international choreographers will come out on top at the end of next season. (Front runner: Forsythe, by a hair.)

Former Hubbard Street dancer Robyn Mineko Williams, now making quite a name for herself as a choreographer, will also create a new work for the company to premiere in October. Also of note, Terence Marling will succeed Taryn Kaschock Russell as the new director of HS2 – congrats!! – and Lucas Crandall returns to Chicago to fill Marling’s former role as Hubbard Street’s rehearsal director.

Fall Series – October 10-13, 2013: Passomezzo (Ohad Naharin), new work (Robyn Mineko Williams), Casi-Casa (Mats Ek), and the Compass quintet from AZIMUTH (Alonzo King).

Winter Series – December 12-15, 2013: One Thousand Pieces (Alejandro Cerrudo).

Spring Series – March 13-16, 2014: All Kylián! Sarabande, Falling Angels, 27’52”, and Petite Mort.

Summer Series – Gnawa (Nacho Duato), Quintett (William Forsythe), world premiere (Cerrudo).

Delfos Danza Dazzles

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Delfos Danza Contemporanea in "Trio y Cordon". Photo by Carlos Quezada.

Delfos Danza Contemporánea, arguably Mexico’s top contemporary dance company, performs its 20th Anniversary Concert Resonancias (Resonances) to the Dance Center at Columbia College this weekend. From the opening number last night with three topless dancers clad in origami paper skirts, different was the name of the game. The six company dancers were solid and unique. Some of the choreography worked better than others (I prefered the more dance-based pieces to the heavily conceptual), but taken as a whole showing works throughout the 20-year history, the performance provided a nice, smooth ride finishing stronger than it began.

Kudos to Lighting Designer Erin Tinsley* and the tech crew for spot-on incorporation of the intricate lighting design that was indeed innovative, but sometimes distracted from the dancing. Stand outs: Omar Carrum for his choreography and his strong, dramatic, intense solo Juana in which he wore a giagantic black skirt calling up images of Joan of Arc, a Samurai soldier and a 16th century priest. Dancer Surasí Lavalle was exquisite;  her low center of gravity allows her to move faster, further and more efficiently than seemingly possible. Both of these dancers also stood out in the final work Del amor y otras barbaridades (About love and other calamities) as the male-female couple that struggles aggressively and sexually, then reconciles.

Delfos Danza Contemporánea performs at the Dance Center at Columbia College, 1306 S. Michigan Ave. Two shows left: Friday-Saturday, April 5-6 at 8 pm. Tickets are $26-$30; call 312-369-8330 or visit colum.edu/dancecenter.

*Update/correction: The fabulous Lauren Warnecke, who works on the Production Crew, clarifies that the lighting design was by Co-Artistic Director Victor Manuel Ruiz and Stage Managers Austin Shirley and Rigoberto Del Valle. The crew mentioned above works for the Dance Center. Stellar job to all!

Auditorium Theatre 2013-2014 Highlights

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Cloud Gate Dance Theatre in "Songs of the Wanderer". Photo by YU ui-hung.

The Auditorium Theatre of Roosevelt University (ATRU) just announced its 2013-2014 season. Here are a few things I’m excited about:

Ballet West – former Joffrey Ballet dancer Adam Sklute’s company will be presenting Sleeping Beauty (classic, long, but beautiful w/ gorgeous music) and Val Caniparoli’s The Lottery. Caniparoli created Incantations for Joffrey in 2012 and has received great reviews for the premiere of The Lottery which has a unique twist where the audience finds out the “secret” before the dancers (who don’t know who will perform the final solo until it happens live!). Cool beans.

Houston Ballet – In another local connection, Joffrey premiered Artistic Director Stanton Welch’s Son of Chamber Symphony in 2012. His company brings the storybook ballet Aladdin to town in March of 2014.

Alvin Ailey American Dance Theatre – The New York-based company returns for another two-week run featuring a mixed rep and the showstopper Revelations. Yay.

River North Dance Chicago – Local favorite Rivno takes the stage in April 2014 will a new world premiere. Always a good show – expect lots of abs and speedy turns.

Paul Taylor Dance Company – I’m reading Paul Taylor’s new book Facts and Fancies right now, so the timing is perfect! My only regret is never getting to see my friend Julie Tice perform with the company live during her ten years there 🙁

Cloud Gate Dance Theatre – Co-presented with the Dance Center of Columbia College and the Joffrey Ballet, this troupe from Taiwan always amazes with their imagery and Butoh-esque stamina/control.

Chick Corea and Béla Fleck – Non-dancy, but my brother (a musician) listened to Corea ALL the time when we were growing up and a bazillion years ago I performed a piece with the above mentioned Tice to a Beatles cover by Fleck (and the Flecktones). Good times.

So there you have it. Oh plus, the yearly tradition of the Joffrey’s The Nutcracker and any chance to see ATRU E.D. Brett Batterson and you can see why I’m stoked.

For more information, visit auditoriumtheatre.org.

Dance Center Announces 40th Anniversary Season

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Cloud Gate Dance Theatre dancer WANG Wei-ming in "Songs of the Wanderers". Photo by YU Hui-hung.

The Dance Center of Columbia College marks its 40th anniversary season with an exciting range of dance companies from around the world. Along with staple local and international modern companies, the season welcomes a number of hip hop and urban artists to the roster. Nods to the past, present and a look toward an interesting, if changing, future?

Notable touring company Cloud Gate Dance Theatre of Taiwan returns to Chicago next March and will be co-presented with the Joffrey Ballet and the Auditorium Theatre. (*This performance will be at the Auditorium.) A French hip hop choreographer sets work on young dancers from Brazil for an explosive show by Compagnie Kafig performing in February 2014. Other traveling companies include multiple award-winning Bill T. Jones/Arnie Zane Dance Company, Philadelphia-based choreographer Raphael Xavier, as well as New York-based Susan Marshall and Company. A co-commissioned by the Dance Center will feature a work about migration out of Africa through the “lens of Moses stories” by Reggie Wilson/Fist & Heel Performance Group.

Local troupes to hit the South Loop stage include Mordine & Company Dance Theater, Same Planet Different World and Peter Carpenter Performance Project (joint program), and Khecari and The Humans (joint program). Also look for Family Matinee performances throughout the season.

For more information on the 2013-2014 season, visit colum.edu/Dance_Center.

Hubbard Street’s Kevin Shannon Talks DanceMotion USA (Part 1)

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Hubbard Street dancer Kevin Shannon in Mats Ek's "Casi-Casa". Photo by Quinn B Wharton.

“I started tap dancing when I was eight, mainly because I was a little rambunctious,” he said. “I was just troublesome. I was always trying to figure out a way to get a reaction out of people and my Mom was just over it.” Hubbard Street Dance Chicago dancer Kevin Shannon, 28, told me about growing up in inner city Baltimore (the John Waters movie Pecker was filmed there) over ice cream – his brilliant idea! – his one day off after the company’s combined performances at the Harris Theater with Alonzo King’s LINES Ballet before heading out on tour to Wisconsin. Before landing in Chicago in 2007, Shannon took his orneriness to the Baltimore School for the Arts and Julliard. He’s now in his sixth season with Hubbard Street.

It was his senior show at Julliard that caught the attention of Jim Vincent, Hubbard Street’s artistic director at the time, and brought him to the Midwest. “I’d auditioned in Europe and Canada, but I kind of wanted to be in the States,” Shannon said. “The rep here is so great and we get to travel. This is one of the best contemporary companies in the world, not just the States. I don’t think a lot of companies have what this company has. These dancers can do anything and do it well.” Seven of those dancers, plus fearless leader artistic director Glenn Edgerton, joined Shannon this week in an epic adventure. On Monday, they flew out on the first leg of a cultural diplomacy program sponsored by the U.S. State Department and the Brooklyn Academy of Music (BAM) called DanceMotion USA (DMUSA). Now in its third year, DMUSA sends American dance companies abroad for performance, education and outreach. Hubbard Street is one of four companies chosen this year and will be visiting Morocco, Spain and Algeria.

Earlier this year, they traveled to Washington, D.C. to meet with Assistant Secretary of State Ann Stock and BAM Executive Producer Joe Melillo to be briefed on the trip, the regions/cities they would visit (Casablanca, Marrakesh, Valencia, Seville, Algiers and Orun) and their duties as artistic ambassadors. “I’m really excited about it,” said Shannon. “We’ll have one performance in each city and every day we’ll be doing workshops. It’s more of an outreach/teaching program. It’s a wide range of students. Some will be dance trained and I think in Spain we’ll be working with mute and deaf children.” The eight dancers – Shannon, Jesse Bechard, Jacqueline Burnett, Meredith Dincolo, Kellie Epperheimer, Jason Hortin, David Schultz and Jessica Tong – will be performing five in-house pieces from the Hubbard Street rep from dancer Jonathan Fredrickson, former dancer Robyn Mineko Williams and resident choreographer Alejandro Cerrudo.

While they’re away, the rest of the company is hard at work here getting ready for the upcoming Danc(e)volve performances of newly created in-house choreographic works. Not to be left out, Edgerton is having the DMUSA dancers create a work while they’re gone about the trip. Another way they’re staying connected is through social media. You can follow the dancers throughout the entire trip via Facebook, Twitter, Instagram and the DMUSA blog. “My hope for this program, going into it, is that when we come back, we stay connected, so we can expand our outreach,” said Shannon. “It’s really exciting. Once you do this, you’re always a cultural ambassador and will always have a connection to the State Department.” Well, Ambassador Shannon, we look forward to hearing all about the trip in Part 2 of the interview, when you get back.

Check out what’s happening on their first stop in Casablanca, Morocco – where they are right now!

 

 

 

Harris Theater’s Eat to the Beat: Giordano Dance Chicago

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What a fun lunch! Today I went to the Harris Theater‘s Eat to the Beat series, a lunchtime $5 dance performance where you can take your lunch or partake in the fantastic food truck offerings on the lower level of Randolph Dr. and enjoy a show. Giordano Dance Chicago (GDC), celebrating 50 years with performances at the theater this weekend, took the stage to a scattered, but substantial house at noon. I got there early to stake my claim, since it was open seating, and grabbed a delicious Paneer Wrap from Bombay Wraps, a glass of wine – don’t judge, it’s Friday! – and a cupcake from Gigi’s Bake Shop for the road. Unfortunately, I didn’t have stomach room or time for a tamale from the Tamale Spaceship…next time, for sure.

The show opened with Giordano Moves, a retrospective of Gus Giordano’s famous jazz style, set by his daughter Nan and former GDC dancer John Lehrer in 2005. Although the style is a bit antiquated by today’s standards, it is a lovely historical look back and it’s nice to see the tradition carried on. The old school jazz moves (lots of triple turns, double stag jumps and “Gus” arms) look way different on these younger dancers bodies. The second company performed River, by former dancer Cesar Salinas. Wow! These five ladies are the future. Tons of energy and beautiful technique. You can tell they are young and hungry (in an artistic way, not like me…still eating my paneer).

The main company followed with a 2012 work by Artistic Associate Autumn Eckman. G-Force is a fun look at what dance might be in the future. Hints of jazz, lyrical, contact improv, street with inventive partnering show off these eight dancers talents well. Funky! I had to leave early to make it to work on time, but GDC closed the mid-day show with a world premiere by L.A. choreographer Liz Imperio titled La Balleza De Cuba (The Beauty of Cuba). Luckily, I will get a chance to see it at tomorrow night’s performance.

Giordano Dance Chicago has two performances left this weekend, Friday-Saturday, March 22-23 at 7:30 pm. Tickets are available by calling 312.334.7777 or at www.harristheaterchicago.org.

 

Top 5 Reasons to go see Alvin Ailey this weekend

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Alvin Ailey American Dance Theater in "Revelations". Photo by Christopher Duggan.

Ailey American Dance Theater continues its 10-performance run at the Auditorium Theatre this weekend. Here are 5 reasons you should go see them:

1. Two new programs that include contemporary European works (you may know for local Hubbard Street Dance Chicago‘s rep) Jirí Kylían’s Petite Mort and Ohad Naharin’s Minus 16. Even if you’ve seen these pieces before, watching the tautly muscled Ailey dancers perform them is something entirely new.

2. My non-dancer friend that I took with my to opening night said, “This is the best dance show I’ve seen!”

3. It’s at the Auditorium Theatre. Beautiful and historic, it is the perfect place to see this great American company.

4. The audience. Ailey audiences are the best! There will be whooping, hollering, clapping, yelling and, if my experiences serve me correctly, a standing ovation. I guarantee you will leave the theater feeling joyful.

5. Revelations! Revelations! Revelations! This iconic work created by Alvin Ailey in 1960 still stands the test of time. Set to traditional gospel music, like Wade in the Water and Sinner Man (my favorite!), this piece will have you jumping out of your seat and dancing out of the theater. I dare you to now leave with the high energy finale stuck in your head. I’ve seen this work at least 20 times (yes, I’m that old) and, truth be told, there was a time when I didn’t want to see it again, but now, I would go if it was the only thing on the program. This one dance is worth the price of your ticket.  

Hubbard Street + LINES Ballet: Review

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

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

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

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

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

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

 

 

Alvin Ailey’s Ghrai DeVore

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

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

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

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

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

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

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

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

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

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

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

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

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

Luna Negra’s Made in Spain

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Luna Negra's Kirsten Shelton & Filipa Peraltinha. Photo by Cheryl Mann.

Split-second shifts and fluid technique ride on thoughtful, thought-provoking choreography set on articulate, authentic artists. Made in Spain, the latest and greatest from Luna Negra Dance Theater (LNDT), performed last Saturday night at the Harris Theater, once again proved the company’s stellar reputation for presenting electric, entertaining and enthralling works. Under the direction of Gustavo Ramírez Sansano, this small group of dancers is thriving and continues to push the boundaries of local contemporary dance. I fear I sound like a broken record, but if you haven’t seen LNDT lately, you MUST go see this group dance!

In the opening piece, Fernando Hernando Magadan’s 2009 Naked Ape, the elastically eloquent Eduardo Zûñiga manipulated the dancers’ actions manually and sometimes verbally through a made up language. “Gibberish, but with a specific idea in the head,” Zuñiga told me. Starched white clothing-like set pieces dotted the stage, one installed with a live mic that when touched by Zuñiga sent the dancers into spasmodic improvisations. Strong performances by all (Zuñiga, Nigel Campbell, Mónica Cervantes, Kirsten Shelton and the continually-impressive Christopher Bordenave) solidify this work as a staple in their rep.

A world premiere by Cervantes, Presente, set to Max Richter’s “recomposed” version of Vivaldi’s Four Seasons delightfully muses on what it means to be present, not stuck in the past or focusing on the future. Fast-moving backward sequences and stunning solo-work by Shelton fly by as little black balls fall out of a hanging abstract white hourglass. The dancers move in and around the balls, even making a separate pile, perhaps trying to save or stop time. Cervantes’ prowess as an aggressive, powerful dancer is matched by her choreographic curiosity and detailed dancemaking.

A new work for LNDT by Magadan closed the show with live, on-stage music from the fantastic Turtle Island Quartet. A chandelier of music sheets and Labanotation notes hanging above the string group, with more crumbled under their feet created a beautiful backdrop for the dancing in Royal Road. The ensemble of dancers again show technical brilliance blending with the musicians in a wonderful riff on the relationship of music and dance. Special mention goes to newcomer Filipa Peraltinha, an outstanding to the LNDT family.