Displaying items by tag: Dance

Tuesday, 16 November 2021 22:06

CHICAGO DANZTHEATRE PRESENTS THE YELLOW WALLPAPER

Dancing normally isn't my thing, but literature is. And "The Yellow Wallpaper" by Charlotte Perkins Gilman is, surprisingly, a better candidate than most short stories for a dance interpretation. It starts as something quaint, recognizable, and spirals its way into madness: something dance and music can convey potently.

Gilman's feminist classic "The Yellow Wallpaper" brought much-needed light to the issue of women's mental health when it was published in 1892, and it still sheds light on this often misunderstood experience today.

The postpartum-suffering protagonist of this story wants to be heard, but her husband silences her at every turn — confining her to the house, isolating her from friends, even discouraging her from writing — leaving her anxiety and confusion nowhere to turn but inward. She starts seeing things in the yellow wallpaper of her bedroom. She sees a woman trapped behind bars, her own situation playing out in the wallpaper every night. By the end, she and her hallucination are one and the same. With no other outlet for her emotions, she's turned herself into something flat and silent, but weirdly free.

And to see this all acted out through dance is visceral and wonderful.

 

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This joint production by Chicago Danztheatre Ensemble and RE Dance Group comprises of two shows: "The Attic Room" by RE Dance and "The Yellow Wallpaper" by Danztheatre. The choreography by Michael Estanich and Ellyzabeth Adler, respectively, is desperate and graceful, the characters losing control in one moment and suspiciously, blithely sedated the next. The dance incorporated into the story was emotive and seamless. As a dance dummy, these vague terms are the best I can use to describe it, but what I can say is it made me feel things.

What was an unreliable narrator on paper, too wrapped in her psychosis to describe herself objectively, is now right in front of us, slowly losing it and crying out for help. While "The Attic Room" is more abstract, both productions depict a slow undoing of a character's reality, and the helplessness and confinement of not understanding her own mind.

"The Attic Room" and "The Yellow Wallpaper" are playing November 19th & 20th at 8PM at 1650 W Foster Ave. Tickets at Danztheatre's website.

Published in Theatre in Review

Each season Joffrey Ballet Company presents a show comprised of works of various influential artists; this winter’s repertoire is a worldly combination of five works by four contemporary choreographers: British-born Christopher Wheeldon’s Commedia, Israeli choreographer Itzik Galili’s Mono Lisa and The Sofa, Chicago’s Stephanie Martinez’ Bliss!, and Chicago premiere of Justin Peck’s The Times Are Racing.

Opening the performance is Commedia (created in 2008), which takes us to the French-influenced 1920’s world of dance. For this piece, Christopher Wheeldon drew inspiration from Igor Stravinsky’s “Pulcinella Suite”, which was originally composed in 1920 for a ballet featuring harlequin costumes by Pablo Picasso. Commedia is the longest piece of the evening, with several scenes set to the beautiful, albeit occasionally disturbing, Stravinsky’s music. It starts out with a group dance (Sinfonia) which sets the tone for a gorgeously expressive and athletic ballet. Dancers are wearing very Picasso-ish black and white harlequinade costumes designed by Isabel Toledo, which also bring out the whimsical nature of Wheeldon’s choreography. This ballet is mesmerizing in its entirety. Pas des deux dances (such as Serenata by Brooke Linford and Yoshihisa Arai, and Gavotta by Gayeon Jung and Edson Barbosa) all have some hypnotic fluidity that takes one’s breath away. The ballet’s highly creative choreography is only matched by Joffrey dancers’ exquisite skills, resulting in a piece that is simply stunning.

After the first intermission, the next three pieces are united by a common theme of modern courtship. Mono Lisa and The Sofa, both choreographed by Itzik Galili, playfully explore the nature of romantic relationships. Mono Lisa, created in 2003, features the fabulous Victoria Jaiani and Stefan Goncalvez. He likes the girl; she plays hard to get – the old game of cat and mouse. Percussive sounds of an old typewriter set to a cool bit (original music by Itzik Galili and Thomas Hofs) create intensity, as in some futuristic tribal music.  Completed by the dancers’ precise moves and skilled acrobatics, Mono Lisa is decisively void of any romantic quality. This is further enhanced by the set design consisting of steel frames and bright lights.

 Galili’s second piece of the evening, The Sofa, has certain elements of a pantomime. The sofa on the stage becomes piece de resistance, where the couple fights for space and independence. The boy is a little aggressive towards his girl, but then he gets a taste of his own medicine in a comical gender-reversal twist half-way through the dance. Danced by Temur Suluashvili, Anna Gerberich and Fernando Duarte, it’s a fun and highly energetic piece set to music by Grammy Award-winner Tom Waits.

Included in the program is Chicago choreographer Stephanie Martinez’ ballet The Bliss! which she created for the Joffrey Ballet Company as a part of an Igor Stravinsky evening. For this piece, Martinez was inspired by Mildred and Robert Bliss who commissioned Stravinsky to compose Dumbarton Oak Concerto for their 30th wedding anniversary. On stage there’re six handsome topless male dancers, possibly looking for a testosterone-fueled action. A pretty girl enters and a scene out of Michael Jackson’s video “The Way You Make Me Feel” immediately comes to mind. It’s a mating game, no doubt, full of flirt and seduction. A beautiful as well as an interesting piece whose many different flavors and textures develop as it moves through Stravinsky’s music.

The program concludes with The Times Are Racing, Justin Peck’s so called “sneaker ballet” for 20 dancers. Dancers wearing street clothes (costumes by Humberto Leon) including shirts with word-messages such as “defy”, “change”, “protest”, “shout”, and “fight”, move with purpose and grace. Set to the last four tracks of Dan Deacon’s album America, it’s a very youthful and explosive ballet, which draws its inspiration from a variety of dance styles. Featuring an incredibly expressive dancer Edson Barbosa, as a boy lost in the city, exploring and seeking, trying to learn and ultimately fit in.  

Through February 23rd

http://joffrey.org/

Published in Dance in Review

Drury Lane has wowed audiences over and over with big song and dance productions. Not only recognized for its intricate choreography, the theater has also been known for its dazzling sets and stunning costume design. From ‘42nd Street’ to ‘Singin’ in the Rain’ to ‘West Side Story,’ impressive musical stage adaptations have practically become common place. In Drury’s latest endeavor, ‘An American in Paris,’ the theatre pulls out all the stops.

Based on the 1951 Academy Award Winning film of the same name that starred dancing greats Gene Kelley and Leslie Caron along with Oscar Levant, Georges Guetary and Nina Foch, ‘An American in Paris’ is the epitome of a big song and dance musical. Taking place in Paris, where love is always the theme, the story revolves around Jerry Mulligan (Josh Drake), a vivacious expatriate who wants to make it as a painter. It’s not long after World War II and Jerry is stricken with the city and has no plans on returning to the U.S. anytime soon.  Jerry’s neighbor, fellow G.I. and friend, Adam Hochberg (Skyler Adams) is a struggling concert pianist who tells us the story - that gets a bit complicated once his long-time friend and associate, French Singer Henri Baurel (Will Skrip), and talented dancer Lise Dassin (Leigh-Ann Esty) get introduced. Turns out the three fellas all have eyes for Lise, and though they talk to each other about their newly found love, they have no idea they are referring to the same person – thus the song “S Wonderful”.

The dancing scenes are certainly the highlight in this production and Josh Drake makes the most of his opportunity as Jerry to astonish the audience with his fancy footwork every chance he gets. Though Drake’s acting comes across a bit rigid, he more than makes up for it with a strong voice and eye-popping dancing prowess. Drake is flat out exciting every time his feet begin to move. Leigh-Ann Esty as Lise also startles with her graceful moves, making the most complicated of motions seem effortless. Also, well-cast is Will Skrip as Henri who is not only very funny in the role but is capable of belting at any given moment – and does so with power and flair. Skylar Adams might just offer the best all-around performance in this dynamic musical as Adam Hochberg, giving a well-balanced display of vocal ability, dancing talent when called upon and strong acting. The already superb cast also gets a lift from Erica Evans who shines as Milo Davenport and a Drury ensemble that is ever-reliable.

Karl Green goes all out with fantastic costume design. According to an Instagram post a few weeks prior to the show’s opening, the team had already spent nearly 2,400 hours on costumes, greatly surpassing the theatre’s average of 1,000 hours per show. And it shows, with costume changes aplenty, each detailed to perfection.

The dance scenes are memorable (thanks to Dance Captain, Allyson Graves) and many of the songs unforgettable such as George and Ira Gershwin’s “I’ve got Rhythm” and “(I’ll Build a) Stairway to Paradise”. ‘An American in Paris’ is a story of perseverance, passion for life, but mostly love. 

Highly recommended.

“An American in Paris’ is being performed at Drury Lane Theatre in Oakbrook through March 29th. For tickets and/or more show information, visit www.drurylanetheatre.com.

Published in Theatre in Review

I have seen Riverdance productions in the past and have always enjoyed them, but the Riverdance 25th Anniversary Show, currently being performed at Cadillac Place Theatre, really ramped up the production value and left me breathless. With new soundtrack additions by original composer Bill Whelan, and amazing 3D projections in the background by producer Moya Doherty and director John McColgan, this new touring production inspires and delights the eye from beginning to end.

Of course, the dancing is spectacular and with numbers that merge several dance forms like American tap and Flamenco, the artform of Celtic Riverdance proves that this form of dance is just as demanding if not more so than other traditional forms of dance. 

I had forgotten that many of the dancers also sing, their voices and harmonies exquisite and uplifting. Several lead vocal performances mesmerized the audience whether a solo sung or the entire ensemble joining in song. 

But as beautiful as the singing and visuals, Riverdance is about wowing its audience with its rapid-fire movement, intricate footwork and choreographed tapping that can at times be thunderous. Every dancer was fantastic. The two main dancer leads, Maggie Darlington and Jason O’Neil, had great chemistry while other prominent performers Gianna Petracic, Will Bryant, Patrick O’Mahony and Jason O’Neil continuously dazzled with one stunning performance after another.

The loosely based plotline allows for the romantic imagination to place its own meanings and personal inspiration about love and family and travel to and from one's homeland in many of the numbers. 

New technology employed on the ever changing lights and backdrops makes for a hypnotic and colorful experience that theater goers will find exciting and refreshing as one is challenged to watch the magnificent footwork of the dancers as the lush scenery rolls into and out of the stage area flawlessly.

Riverdance has come a long way since its beginning when it was just a seven-minute dance piece as an interval act in the 1994 Eurosong Dance Contest. The feedback from this captivating dance segment, a synthesis of Irish and International performance art, was tremendous, and the show creators knew they had something big. Soon after, the music show was developed into a full-length production in 1995 and box office records were broken and Riverdance has never looked back selling out shows all around the world. Riverdance brings us a unique dance form that requires and incredible amount of skill and can be roaring one moment and gracefully flowing in the next - and audiences just can’t get enough.    

I thoroughly enjoyed and highly recommend this new 25th Anniversary production of the Grammy winning and highly acclaimed show Riverdance for audiences of all ages who wish to spend a lively and uplifting night at the theater and leave feeling entertained and refreshed - especially during these gloomy Winter months!  

Riverdance is currently staged at Cadillac Palace Theatre through February 9th. For more info visit www.broadwayinchicago.com or www.riverdance.com.

Published in Dance in Review

A tragic Shakespearian tale of Romeo and Juliet set to the music of a Russian composer Sergei Prokofiev is brought to Chicago Harris theatre by The National Ballet Theatre of Odessa (Ukraine).

 A ballet in two acts, it starts out rather slow. Dancers are mostly standing around, and a sense of a theatre, rather than ballet, is conveyed. This low energy feel is not helped by the dull uniform-like color palette of the costumes and unexciting set decorations [of predominantly burgundy]. Luckily, the first scene features multiple quarrels between the servants, which escalate to a brawl, bringing some much-needed energy to the stage. We get our first look at lovely Juliet, who is most certainly the star of the show. 

Choreographed by Michael Lavrovsky, overall, Odessa’s Romeo and Juliet has a very traditional feel, full of reliable dance moves but not too many thrills for the Chicago Harris Theatre’s spoiled audience. Regardless, it does have some nice parts, all of them seemingly saved for the Second Act.

Alas, Act Two has a lot more sparkle. Events are set in motion, the pace is picked up and, to our delight, we get another major infusion of Romeo’s friend, red-headed Mercutio (danced by Nikolay Vorivodin), who is unquestionably the liveliest dancer of the troupe and, frankly, one of its most memorable. His spirited energy lights up every scene he’s in, and that’s a really good thing for this sleepy production. In his last performance he dances out a sword fight, churning out acrobatic- inspired moves, while remaining playfully graceful. Farewell, Mercutio, we’ll miss you.  

Odessa’s National Ballet Theatre features some very fine performers in Romeo and Juliet. Olga Vorobiova, who dances the part of Juliet, is absolutely outstanding. A world class ballerina, she is gracefully fluid and highly expressive. Her partner Stanislav Skrynnik (Romeo) is a very capable dancer, perfectly executing his role in the ballet as a support for Vorobiova during the couple’s love scenes. One of the most impressive scenes in the ballet is Romeo and Juliet last embrace; it’s absolutely gorgeous. Ahh, Romeo and Juliet, fused together in an expression of love and devotion; it brings tears to one’s eyes.

Published in Dance in Review
Saturday, 19 October 2019 18:37

From Page to Stage: Joffrey Ballet’s 'Jane Eyre'

It seems to me the Joffrey Ballet’s been picking literary shows as of late based on books I either never finished or don’t remember. Last season, they presented Anna Karenina, which I admit I never read all the way through, but which delighted me in its transformation to the Auditorium Theatre’s stage. And now, the Joffrey’s 2019-2020 season opens with another 19th century classic, Charlotte Brontë’s Jane Eyre. Now, I know I finished the novel, as every moment in the ballet was recognizable to me, but I can’t for the life of me recall when I read it, whether it was high school or college. Shows that perhaps the book didn’t make that big of an impression. But I’ve got to admit, the ballet did make an impression. Seems to me that a much younger me could have used Joffrey productions of required English class reading as a mix of Cliff’s Notes and nights on the town. Alas, a younger me never had that opportunity, but the older me sure is lucky for the chance.

Just as she played the lead role in the Joffrey’s magnificent Nutcracker last winter, Amanda Assucena takes on the eponymous role of Jane for this production. And boy, does she deliver. But every bit as important to the main character’s story is Yumi Kanazawa, who plays a young Jane through the first couple scenes. Kanazawa matches Assucena in passion and performance, and seamlessly portrays the woman as a girl, handing the part off upon her arrival at adulthood.

Now, the two ballets I’ve mentioned above — The Nutcracker and Anna Karenina — are spectacles, the former by tradition and the Joffrey’s Chicago-centric twist on the tale, the latter because of the source material’s length and depth. Jane Eyre, on the other hand, lacks the marvel and magnitude of those two, instead centering on the experience and personhood of the title character. And, while still delivering some of the sights and sounds of the other productions, this production allows the Joffrey’s performers to shine, just as the characters in Brontë’s book are the reader’s focus, with Jane as both the book and the ballet’s focal point.

When Jane’s classmate Helen, played by Brooke Linford, dies from tuberculosis or cholera or whatever old-timey predicament Brontë killed her off with, we feel Jane’s pain at the loss. When Greig Matthews’ pompous Rochester at last succumbs to Jane’s charm, so do we. While the visual beauty of the set is still there, from the sad-sack orphans Lowood School to the fire that endangers Rochester at his Thornfield estate, of  it is the visual beauty of the dancers that is the star of this show, just as the characters — or the character, of Jane, really, is the star of Brontë’s novel.

So join the Joffrey Ballet at the Auditorium Theatre through October 27, as all its world-class company of talent once again digs deep into a literary classic to turn words into images, memories into reality, and a 19th century novel into a 21st century evening of entertainment.

Published in Dance in Review

It is no wonder that the 9th Annual Winning Works, presented by the Joffrey Academy of Dance Chicago, has been a sold out show since its opening on March 9th through the 10th.  With its talented selection of winning choreographers and their eclectic styles, they brought a show that brings political, cultural and self-awareness, along with insight into different styles of ballet, straight into the artistic heart of Chicago. Each of the 4 performances showcased on the intimate stage of Museum of Contemporary Art Chicago, was introduced with a video, giving the audience members an inside look at the process of creation of each of these performances, as well as into to the inspiration of the artists being featured.

The choreographers featured, hail from the United States (Tomie-Waheed Evans and Marissa Osato), Mexico (Edgar Zendejas) and China (Xian Xu,) featuring just as varied themes to their choice in music, style of dance and purpose of their presentation as their cultural backgrounds.


Beginning the afternoon of performances, was Edgar Zendejas’ Lineas. A silent introduction featuring a single dancer, joined by the other performers in gauzy white shirts and white shorts- performing in a cannon, invoking an ethereal beauty. The interaction between the dancers as they interacted within the group, but also as moving bodies. The representation of these interactions, showcased how are attention can shift between groups and interactions, but how we are all intertwined together within these experiences. 


Coup De Grace choreographed by Tomie-Waheed Evans, was an intense representation of the current political climate of our present day, imagining the reactions we would have if we faced an apocalyptic event. The intensity of the music, vibrant colors and movements of the costumes- portrayed how diverse we are in our current world, all struggling to survive, however if we can embrace our community and those around us- how much we can overcome these obstacles and crisis that seem to plague us all.


Xian Xu’s, Vessels Bearing was an expression of Asian culture and how it is defined by rice, through the representation of rice bowls.  With influences of Asian movement and design with Xu’s choreography, the essence of rice, as a provider of energy, sustenance and warmth is what binds so many of us together.  The impact is has on those who have enough to rely on, as well as those who do not have enough.

  
Give the People What They Want choregraphed by Marissa Osato, was another stunning representation of the quality of talent being featured by Joffrey.  This particular ballet reflected how the façade we carry into our everyday life can eventually or may take its toll on us as we try to present our best face forward.  With music created by a local Chicago composer, Elliot Callighan, the vibrancy of this piece, was uplifting in that we are not all individually facing the challenge of our inner realities and how we present them in real life.  

 

All four pieces, as their 4 choreographers are so diverse in their backgrounds, ballet styles and musical inspirations, it is exciting to watch as the cultures and perspectives combine on the stage. It is a thrill that the 'Winning Works' has continued to provide us with so many opportunities to view the talented works of these choreographers and an insight into the growing styles of ballet. We look forward to what is coming next, as we relish in the talent we have been shown.

Published in Dance in Review

All apologies to the teachers and professors who groomed me to be a ceaseless reader and sporadic writer — I never finished Anna Karenina. But while I never plowed through all 900 pages of Tolstoy’s novel, moments from the book have stayed with me. One of them is just a line, one seemingly effortless line among pages full of them, and what a line it is: “All the variety, all the charm, all the beauty of life is made up of light and shadow.”

As I reflect on the variety, the charm, and the beauty I was privileged to behold at the Joffrey Ballet’s world premiere of Yuri Possokhov’s production of his countryman’s classic, I realize I witnessed a whole world of light and shadow being created right there on the Auditorium Theatre’s stage.

The creation of that entire world was, most obviously, performed by Possokhov’s choreography carried out by the Joffrey’s outstanding company, of course. Victoria Jaiani’s Anna navigates said world in both light and shadow — beautiful but damaged, faced with reality but delirious. Her husband Karenin, towers over the stage, as portrayed by the magnificent Fabrice Calmels, as a stately, stern husband and father and statesman. Just as stately, while also boyish and beautiful, Alberto Velazquez’s Vronsky lures the audience just as he lures poor Anna. And parallel to the love triangle and tragedy that envelope those three is the love story between Yoshihisa Arai’s Levin and Anais Bueno’s Kitty. If the former affair gives us the shadow, then the latter relationship brings it into the light.

These lights and shadows do not flicker before us thanks solely to the dancers, however. No, the spectacle of sight and sound beyond the dancing are every bit as stunning. Tom Pye’s sets and David Finn’s lighting navigates from dusky railyards to sunny Tuscany, from opium dreams to canapé flings. Of the many delights dished out by the Joffrey’s Nutcracker, perhaps my favorite was its use of projections, and Finn Ross’ projections for 'Anna Karenina' equal those, coloring the story and conjuring spirits.

But from curtain to curtain, the visual thrills are always complemented and often eclipsed by Ilya Demutsky’s original score directed by Scott Speck. The Chicago Philharmonic’s accompaniment, shifting seamlessly from elegance to dissonance, while always both classic and contemporary, is joined by Lindsay Metzger’s mezzo-soprano — who literally joins the show by the end — to craft this world of light and shadow in multiple dimensions that quicken multiple sensations.

So join the Joffrey Ballet at the Auditorium Theatre for Anna Karenina through February 24, as all of these world-class talents work together to shade and illuminate, to craft and create the variety and the charm and the beauty one would expect from a hefty literary classic written a century-and-a-half ago and half a world away.

Published in Dance in Review

I arrived at the Auditorium Theatre — one of my favorite buildings in this city of ours that has so many historic buildings each with so many stories — prepared to enjoy an evening with that old Holiday chestnut, The Nutcracker. Little did I know that for the third year in a row, the Joffrey Ballet would be presenting Tchaikovsky’s work with a twist — as a story by Brian Selznick set in Chicago during the World’s Columbian Exposition of 1893. Now, being a history buff, the setting (or settings, since I was already aware of the theatre’s history) perked me up upon reading the program pre-show. And seeing the name of the story’s author, this author of children’s books was excited to see what Selznick, a personal favorite, had in store. I wouldn’t be disappointed with the wonder and whimsy headed my way.

Right away, instead of a bourgeois European Christmastime, we’re transported to working-class Chicago circa Christmas 1892. A Victorian-clad girl played by Amanda Assucena navigates the rough and rat-infested streets of a Windy City that’s awaiting the completion and opening of the great World’s Fair in the coming year, its towering Ferris Wheel overlooking the knot-holed fences and rag-covered rapscallions she passes. A Dickensian rat catcher and the Fair’s Impresario are two recurring characters we meet before Marie arrives at the meager shack she shares with her mother and brother in the shadow of the White City.

There, the family is visited by various other working-people and immigrants for a holiday celebration. And soon, the Impresario himself, played by Miguel Angel Blanco, arrives with gifts, including a Nutcracker for young Marie. From here until the end of Act I, this Nutcracker shares much with traditional productions, with a broken Nutcracker, a nighttime dream, rats and soldiers a-fighting, and a magical gondola arriving to take Marie and the transformed Nutcracker off to a winter wonderland.

But after the intermission, Act II brings a very different wonderland — the White City of 1893 Chicago. First off, the magic comes from the strength of Tchaikovsky’s music. Every time I hear the melody after melody, each of them recognizable, of the second half, I’m reminded of just how ubiquitous this work is. Each piece has become embedded in society’s consciousness ever in the 125+ years since they were penned and premiered. And each piece is played wonderfully by the Chicago Philharmonic (three of whose musicians take the stage in the first half as players at the house party).

The World’s Fair setting, however, allows each piece a new meaning, as what were then (again, 125 years ago) exotic people dance along to Tchaikovsky’s original works. Highlights include Fernando Duarte as a hammy and hysterical Mother Nutcracker (thronged by the children’s ensemble playing hilarious cracking walnuts); Hansol Jeong’s Chinese Dancer, accompanied by the ensemble as paper dragons; and Rory Hohenstein (who was also the rat catcher) as a rootin’, tootin’ Buffalo Bill Cody surrounded by three frolicking showgirls (Lucia Connolly, Dara Holmes, and Joanna Wozniak) who would definitely attract fairgoers in 1893 or today. But the highlight of the Fair’s attractions are the Arabian Dancers, played by Jeraldine Mendoza and Dylan Gutierrez. Mendoza contorts, writhes, and dances as Gutierrez lifts and balances and turns — and the audience erupted when their dance was done all too soon.

The only dancers almost as enchanting as Mendoza and Gutierrez are Victoria Jaiani (who also plays Marie’s mother) and Blanco, as the Queen of the Fair and the Impresario. They close this Nutcracker with the kind of grace and beauty one would expect not just from such a beloved ballet, but from such an accomplished ballet company. So, while the Joffrey’s take on The Nutcracker might be different, it is as enchanting as ever, as professional as one would expect, and the perfect way to begin the holiday season in the White City of Chicago.

Published in Theatre in Review

I’m going to admit, this was not exactly what I expected. I heard flamenco and, me being a guitarist and passionate for the instrument, I thought…hmmm…Flamenco guitar music. That fact that the show would feature the degree of dancing it did never even occurred to me. So, I got the best of both worlds. There were guitars playing in the very impressive musical outfit, accompanying by dancing that was nothing short of spectacular. Two singers and percussion were also included in the act. Like I said, this show had everything.

Eduardo Guerrero was the lead dancer and was exciting to watch, each move as graceful as the last with just the right amount of aggression when needed. Six dancers performed different variations of Flamenco dancing throughout the presentation so we as the audience were treated to a true cultural experience to remember. Everything about the show was amazing.

One of the things that draws me to Latin Music is the rhythm. You can’t escape it. I looked up the word flamenco and found it comes from the word Flemish. The people who originated this type of dancing were gypsies from that area. Interesting.

Another thing I have noticed about Spanish music is how much I hear an Arabic flavor to the melodies and harmonies. You couldn’t miss it in the vocal melodies. I had a chance to watch a Turkish band play a while back and the music was so very similar. It’s fun to see how we are musically influenced from all parts of the world.

But back to the dancing. Microphones were strategically placed on the stage to pick up the sound of the dancers’ feet, literally making their bodies part of the music. Guerrero did some solo work out there that was so rhythmically driven I could see why they needed an intermission with so much energy being spent. This type of dancing must be exhausting. Some of the dance numbers were quite lengthy and would surely wear out even the strongest of dancers.

The costumes alone were worth the price of admission. I also sense a bit of an Arabic influence in that department. Bright colors dominated the stage to make each number as colorful as it was precise and energetic. The many people involved in making this production seem effortless are extremely gifted.

Guerrero and company did a fantastic job and left us with something wonderful and uplifting to take home. I heard the audience respond positively throughout the entire performance and rightfully so. This was yet another great show at the MacIninch Art Center (The MAC) at College of DuPage, proving again that you don’t need to go downtown to be entertained.

Published in Dance in Review
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