Throwback Thursday: Nut edition #tbt

Posted on December 5, 2013 by Vicki

RB in Arabian and my bestie as the Sugar Plum Fairy.

NUTCRACKER!

And so it starts…

Tomorrow is opening night of The Joffrey Ballet‘s run of The Nutcracker. Since I now work for them, if you need me, I’ll be at the Auditorium Theatre for the next month. 🙂

Over Thanksgiving weekend I was lucky – and thankful – to have dinner (which consisted of lots of fried things!) with two of my BFFs from back home. While catching up, we brought up one particular Nutcracker that was memorable for all the wrong reasons.

While breaking in a new brand of pointe shoes, my friend developed blisters on the back of her heels. Tech week is hard core, so those blisters soon ripped and she found herself with large, deep holes that were bleeding and raw. Obviously there was no time to heal, so she powered through – I’m not sure how – by having Lidocaine shot directly into the wounds before the perfomance. It was painful to watch. I can’t imagine how it felt. However, she danced a beautiful pas and Sugar Plum variation complete with a dazzling array of turns and a big goofy smile. She insists she has no recollection of even dancing. Good drugs, I guess, but that was her final Nutcracker. Hmm…I wonder why?

DanceWorks Chicago Open Audition!

Posted on November 20, 2013 by Vicki

AUDITION NOTICE:

DanceWorks Chicago’s unique open company audition will be held at the Dance Center of Columbia College THIS Saturday, November 23. DWC welcomes the general public, FREE of CHARGE, to observe a professional dance audition – an intriguing part of the dance world that is usually off-limits. Take advantage of this unique opportunity and join us as we search for exceptional young dancers to join the DWC family. This innovative approach to an audition is compelling for its exposure to the possibilities of the body, the activation of the mind, the vulnerability and power of the spirit.

DATE: Saturday, November 23, 2013

TIME: 10:00 a.m. – 2:00 p.m. Doors open at 9:30 a.m. Audience members may come and go throughout the day.

PLACE: The Dance Center of Columbia College, 1306 S. Michigan Avenue, Chicago (on stage)

WHAT YOU WILL SEE: The audition will be conducted by Artistic Director Julie Nakagawa. Ballet class with eliminations will be followed by DWC repertoire. DWC representatives will be available that afternoon to answer questions about what’s happening on stage. We hope you will come away with a deeper understanding and fresh curiosity about dance that will inspire your continued relationship with dance artists and their art.
To learn more about DanceWorks Chicago, visit www.danceworkschicago.org.

Happy Birthday Savion!

Posted on November 19, 2013 by Vicki

Photo courtesy of Savion Glover Productions.

Tapper extraordinaire Savion Glover turns 40 today. Happy birthday!!

Don’t miss his Tony Award-winning fierceness when he’s in Chicago for a one-night-only performance of his show STePz at the Harris Theater (205 E. Randolph Dr.) on Friday, January 24 at 7:30 p.m. Tickets are $30-$55; call 312.334.7777 or visit harristheaterchicago.org.

Watch him workin’ it out below:

[youtube=https://www.youtube.com/watch?v=WbMfUnRKG4E]

P/Review: River North’s Autumn Passions

Posted on November 16, 2013 by Vicki

River North dancers in Frank Chaves' "Eva". Photo by Cheryl Mann.

This weekend River North Dance Chicago (RNDC) takes the stage of the Harris Theater with their Autumn Passions program. RNDC opened the 2013-2014 season with a shortened gala program on Thursday, Nov. 14 featuring two world premieres, a company premiere and the Harris debut of a 2013 work by Artistic Director Frank Chaves and will perform a full program Saturday and Sunday, Nov. 16-17.

Thursday’s gala performance began with Chaves’ Eva, a suite of dances to jazzed up songs sung by Eva Cassidy. Gorgeous vocal mixed with Chaves’ talent for partnering and duets. Three couples swirled to Cassidy’s rendition of Sting’s Fields of Gold (one of my favorite songs) and although timing was off, it offered a perfect opening for the evening. A hot, hot, hot quintessentially RNDC, Vent-like duet with Jessica Wolfrum and Ahnad Simmons and a lovely side-by-side duet for Lauren Kias (sassy haircut, btw) and Hank Hunter. Eva closed with a feel good, full company section to Wade in the Water – a jazz-meets-Ailey’s Revelations.

It was a gala, so speeches and donation pitches came before the world premiere of Ashley Roland’s Get Out the Ghost. Roland, co-artistic director of BodyVox came to Chicago in July to set the new work. When I popped in to rehearsals, it wasn’t complete, but after seven days was quickly taking shape. “I need to choreograph faster, otherwise my head gets in the way,” she said. Chaves had asked her to create something “ethereal”. The final section of the Americana work dealing with getting rid of personal baggage or “cleaning your own personal house” is ethereal, but as Roland said, you have to get there first. The work began with the movement, although that’s not always how she works. “It comes through me. It’s not manufactured,” said Roland. “It’s definitely a gift.”

Dancers twitch and twist in angsty spurts while pulling shiny gold mylar pieces from their costumes throughout the first two sections. I get the idea, but it was too literal and while the dancers gave it their all, it seemed over-danced. A little less attack, a little more softness would have served the work better. Daring running dives and catches wowed, but overall, the work needed more subtly.

Dancer Drew Fountain is the first dancer other than choreographer Adam Barruch to perform his theatrical solo work The Worst Pies in London set to the song of the same title from the Broadway musical Sweeney Todd. Barruch himself performed it here at the Chicago Dancing Festival in 2011. Fountain was hilarious and charming in this quirky duet with a table. It’s a definite crowd-pleaser.

The world premiere of Dawn by Deeply Rooted Dance Theater‘s Kevin Iega Jeff closed the hour-long show and proved to be a stellar showcase of the dancers’ talents. Set to the driving beat of a version of Carmina Burana, Dawn depicts an intense, physical, ritualistic society with goddess overtones, or as Iega Jeff states in the program notes – “a new Age of Enlightenment”. All gold tones and biceps – and I’m talking about the ladies! – Iega Jeff makes these dancers WORK! It really is non-stop, balls-to-the-walls dancing – just what we’ve come to expect from RNDC. Wolfrum was fierce as a the head of the hierarchy, boldly commanding the stage.

My only regret not going to see the performances this weekend is I will miss the stunning Nejla Yatkin solo Renatus danced by diva Wolfrum and Daniel Ezralow’s SUPER STRAIGHT is coming down, which was originally created for Hubbard Street Dance Chicago (and one of my fave pieces EVER). RNDC’s first attempt at Ezralow’s work didn’t meet expectations (injuries, etc.), but I’m glad they are bringing it back with a different cast. My guess is they will knock it out of the theater this time around.

River North Dance Chicago’s Autumn Passions at the Harris Theater, 205 E. Randolph St., Saturday, Nov. 16 at 8 p.m. and Sunday, Nov. 17 at 3 p.m. Tickets are $30-$75; call 312.334.7777 or visit harristheaterchicago.org.

Transition Notice

Posted on October 31, 2013 by Vicki

Instead of a Throwback Thursday this week, I’m writing a little update on what I’ve been doing. Hint: a lot! After my birthday vaca to NYC to see and all-Balanchine program at New York City Ballet (review still to come!), I immediately started my new gig as editor at SeeChicagoDance.com. The next week I accepted a new job as Marketing Associate at The Joffrey Ballet – seriously, it kind of just fell in my lap and I couldn’t say no. Everything can change in a minute. For me, it really did.

After six years at Modern Luxury, I’m now officially at Joffrey, learning the ropes, and looking forward to The Nutcracker season. I hear it’s busy! And after nearly two years writing the dance column for Windy City Times, I will be leaving. November will be my last column, but it is going to the very capable hands of Miss Lauren Warnecke of Art Intercepts.

What does this mean for RB? Well, I’m still hoping to post dancer interviews/profiles, Where Are They Now segments and the occasional preview, time willing. Reviews will be minimal. I will still have a sassy presence on social media. As always, it will be a work in progress.

Throwback Thursday: Pumpkin edition #tbt

Posted on October 24, 2013 by Vicki

A quick Throwback Thursday this week as I’m busy getting my entire life in order before I start my new big girl gig at Joffrey on Monday. (Yay.)

Every year my dear friends have a pumpkin carving party that is a BLAST! You know I love anything pumpkin, but getting together with a room full of them to carve with your friends (while you drink) is awesome.

Anyway…I convinced my friend Chris Bell, who also happens to be the illustrator on the children’s book I wrote, to carve the RB logo in a pumpkin!!! This makes me happy.

Sneak Peek: Giordano Dance Chicago

Posted on October 23, 2013 by Vicki

Giordano dancers Maeghan McHale and Sean Rozanski in "Exit 4". Photo by Gorman Cook.

Giordano Dance Chicago (GDC) opens the first Chicago engagement in their 51st season this weekend at the Harris Theater. The program boasts a world premiere by Israeli choreographer Roni Koresh, Artistic Director of Philadelphia’s Koresh Dance Company, a world premiere for GDC II from GDC Assistant Artistic Director Autumn Eckman, plus three full-company works and audience favorites Brock Clawson’s Give and Take, Kiesha Lalama’s Alegría and Liz Imperio’s La Belleza de Cuba and a revival of Eckman’s Commonthread.

RB stopped by rehearsal back in August when Koresh was in town working with the dancers on his new work Exit 4. Set to Israeli music with a tribal feel, Koresh’s work is intense. That is an understatement. “There should be danger in this piece,” he said to the dancers. “I want to see who you are. It’s more valuable to me than your movement.” For a company known for its solid technique and upbeat vibe, he was asking them to go deeper. Much deeper.

A fun group section breaks into strong and fierce men’s and women’s sections respectively. The fourth section is, well…intense. After working on the last section, which they had just finished, the dancers looked physically and emotionally spent. Not one to mince words, Koresh did not let up. In fact, at times he was downright mean. But in a final full run of the entire work, what he got out of the dancers was amazing. Perhaps it was the week-long process, the “audience” of friends, board members and press, or just pure exhaustion, but the dancers brought an honest, raw energy to it that blew me away. (Don’t tell anyone, but I had to fight back tears. It was – again – intense.)

“Your last interaction with the audience will determine your strength. Make the audience uncomfortable,” he said. “I am. Just be. Connect.” If (and it will be hard to do), but if they can recreate that final run and make it read from the vast Harris stage, they will have accomplished something really spectacular. I think they can and I hope they do.

Giordano Dance Chicago in their Fall Engagement at the Harris Theater, 205 E. Randolph Dr., Friday-Saturday, Oct. 25-26 at 7:30 p.m. Tickets are $15-$60; call 312.334.7777 or visit harristheaterchicago.org.

Throwback Thursday: CMP edition #tbt

Posted on October 17, 2013 by Vicki

Circuit Mom and RB performing at The Metro.

Today’s Throwback Thursday is of a Circuit Mom number I’ve performed numerous times. On a makeshift riser stage in San Fran, in the back garden at The Pepper Lounge and at Chicago’s Metro. We even poached sections of choreography to put in other big event numbers.

This number, again by the ever-creative Todd Michael Kiech, involved bras, white material and a parachute set to Lara Fabian’s I Will Love Again (obvi a kick-ass remix). The crowd at Metro was electric and super close. This was one of the most exciting small venue shows I’ve done.

Joffrey Dances La Bayadère (aka Snakes at the Ballet)

Posted on October 14, 2013 by Vicki

Joffrey Ballet goes Bollywood in "La Bayadere". Photo by Christopher Duggan.

This Wednesday the Joffrey Ballet* begins a 10-performance run of Stanton Welch’s La Bayadère: The Temple Dancer at the Auditorium Theatre. Welch’s version, originally choreographed for Houston Ballet in 2010, whittles down the three-plus hour original tale, keeping the story of love, jealousy and revenge flowing, while adding in more dancing. He’s left the famous “Kingdom of the Shades” scene, where 26 ballerinas in white tutus enter the stage performing synchronized arabesques, in tact. Oh, and there are live snakes.

You read that right. Snakes. Real ones. Live, on stage. SNAKES! (Can someone please tell me what happens while they are on stage, because my eyes will be shut as I silently shriek to myself.) Real snakes were used on a photo shoot in Houston to promote the revamp of the 19th classic. The dancers “really got into it” and ended up on the floor with 30 snakes slithering over them – ew – so Welch thought, “We have to use it!” A snake handler from The Traveling World of Reptiles (you’ll have to look up their site on your own…can’t do it) will be part of the production with four of his serpent friends.

The story follows Niiya, a temple dancer, and a love quartet with a secret love, a princess and a betrothed priest. The drama heightens with dancing gods and a little help from a hookah pipe. Solor, Nikiya’s love interest tends a broken heart by smoking opium and enters a dreamlike state. The is where the “Shades” come in. Welch describes them as “a stream of smoke coming down from heaven, where Nikiya appears in a cloud”. This scene has been seen as a stand-alone at galas around the world and is breathtaking.

Considering Welch himself has never performed the ballet, why La Bayadère? “It’s historic and important,” said Welch when I stopped by Joffrey Tower to chat and watch rehearsal earlier this month. “It has strong women characters. There are no victims and I love that the two women fight each other.” He’s replaced a lot of the pantomime – and there was a lot – with dancing and added more dancing for the men. “It’s all dance, less mime,” Welch said. Artistic Director Ashley Wheater agrees. “It’s real dancing people, not cardboard cut outs.” Wheater is excited to have his dancers perform such a staple. “It’s strictly classical,” he said. “It’s hard…a kind of a show-us-everything-you’ve learned.”

Joffrey Ballet presents La Bayadère: The Temple Dancer at the Auditorium Theatre, 50 E. Congress Pkwy., Wednesday, Oct. 16 – Sunday, Oct. 27. Performance times vary. Tickets are $31-$152; call 800.982.2787 or online at ticket master.com.

*La Bayadère is the last time RB will be covering Joffrey for the blog. At the end of the month, I’m joining the Joffrey Marketing Team full-time. You can follow my coverage of them, in an official capacity, on their website, JPointe blog and on social media.

Hubbard Street Does It Again

Posted on October 11, 2013 by Vicki

Hubbard Street dancer Meredith Dincolo in "Fluence". Photo by Quinn B Wharton.

I realize it’s redundant for me to exclaim how spectacular Hubbard Street Dance Chicago is, but…well, they are. Last night’s opening night performance of the Fall Series at the Harris Theater was standard in its phenomenal performers and thoroughly entertaining choreography, but with a few surprises. Works from master choreographers Mats Ek and Ohad Naharin, plus a new work from Princess Grace Award winner (and former Hubbard Street dancer) Robyn Mineko Williams and a world premiere duet by resident choreographer Alejandro Cerrudo showcased the company’s talents from top to bottom.

The first surprise was the emergence of Williams as a thoughtful choreographer that can hold her own with the best of them. Not a shock since we’ve seen her work before, but Fluence was the first time she and her handpicked creative team put it all on stage in a longer, cohesive piece. Quirky chaotic moves turn into a slow duet. A group twitches alongside a lone dancer in his own world. And then came the bubbles. Yes, bubbles. The delicate spheres came raining down creating a serene, space-like atmosphere. A sole column filled with smoke disintegrated in a puff above dancer Meredith Dincolo, whose solo ended the work with a horizontal disjointed backstroke.

Hubbard Street never lacks for stunning duets in their works, but Surprise #2 is, this time, the couples are female. Emilie Leriche and Alice Klock connect effortlessly in Fluence and Ana Lopez and Jacqueline Burnett in Cerrudo’s Cloudless proved a perfect pairing for his intimate choreography. Cerrudo’s newest work, his 12th for the company, features a dark (obviously) stage, stripped bare with two industrial chandeliers highlighting the dancers. Although we may have seen some of his deft duet designs before, they look completely different (dare I say, even more intimate) set on two women.

The rest of the performance was – no surprises here – stellar dancing of audience favorites Passomezzo (Naharin) and Casi-Casa (Ek). Naharin’s romantic, human duet was at times rough, sweet, funny and endearing with some really difficult, knee-killing dancing by Kellie Epperheimer and Johnny McMillan. The company danced Ek’s work for the first time last season and they have really settled into the piece. Comfortable and at ease, they breezed through the extreme choreography with style and aplomb. Here, the men shined. Quinn B (“Legs”) Wharton opened with a smart, sassy take on the “TV Man” solo and the trio of McMillan, David Schultz and Jesse Bechard gets better and more poignant with each viewing.

Shout out to costume designer Hogan McLaughlin for his futuristic take on leotards in Fluence and a hearty BRAVO to lighting and tech director Matt Miller.

Hubbard Street’s Fall Series runs through Sunday, Oct. 13 at the Harris Theater. Tickets are $25-$99; call 312.850.9744 or visit hubbardstreetdance.com.

rogue ballerina

dishing on dance diva-style