Giordano dance Chicago has opened its 2017 season with its Spring Series at the Harris Theater for Music and Dance. Divided into six distinct pieces, the show is a high energy celebration of jazz dance; it’s well polished, exciting and expressive. Not a word is spoken, but each piece tells a story so vividly that one might wonder why we would need the spoken language after all. Opening with ‘’Grusin Suite’’, featuring former Giordano Dance Chicago dancer and River North Dance Chicago Artistic Director Frank Chaves, it’s a 1993 re-staging set to the soundtrack for the film “The Firm”. Fluidity of the dance is complemented by the flowing fabrics of the uniform - like costumes of the dancers (costume design by Branimira Ivanova). The costumes are kept very simple throughout the show, and so nothing detracts from the dancers often moving in unison, always with intention and precision, and there’s always a story being unwrapped. After Grusin Suite comes dark Divided Against - A place painted is decidedly hostile with male dancers wearing robes and acting subservient to the female dancers, who are erect and unemotional. Choreographed by Peter Chu, music by Djeff Houle. Next comes blissfully tribal A Ritual Dynamic. Deeply satisfying both visually and auditorily, it’s Avatar-like in its feel. Choreographed by Jon Lwhrer, music by White Derbakeh and DJ Disse.
After intermission we’re treated to Sneaky Pete, choreographed by Brock Clawson, music by Kerry Muzzey, Abel Korzeniowski, and Adam Crystal. A lot going on here: mating game between two dancers with the girl pursing the boy, while the rest of the troupe is “living their normal life”, a.k.a., dancing beautifully, of course. It ends with the boy upsetting the girl and suffering the consequences by getting ostracized by the rest of the troupe (the “society”?). Or, at least, that was my interpretation. I invite the reader to make their own impression. Next piece is a gorgeous The Man That Got Away, a 1990 classic. The girl wants a man, but he’s is indifferent. She tries many things: affection, seduction, reason, arguing, but nothing will melt his heart. Set to Harold Arlen and Ira Gershwin music performed by Judy Garland, it’s choreographed by Sherry Zunker. Featuring dancer Ashley Downs. Fun Fact: Sherry Zunker has gifted The Man That Got Away to Giordano Dance Chicago in honor of legendary Gus Giordano. It’s sexy and compelling; an absolute delight!
Last, but not least, is a world premiere of a dance called Lost in this World. Choreographed by Liz Imperio, who is hailed as choreographer to the stars. Her credits include the staging and choreography for Jennifer Lopez’s world tour “Dance Again” and directing/choreographing of three of Gloria Estefan’s world concert tours and two world tours for Madonna. Set to music by Ed Sheeran/Steve Mac/Johnny McDaid, and Raury Tullis, Lost in this World is very youthful. Beautifully danced by the lead woman Maeghan McHale and lead men Devin Buchanan and Adam Houston.
The Giordano Dance Chicago Spring Series is performed at the Harris Theater for Music and Dance. For more information on Giordano Dance Chicago visit http://giordanodance.org/.
The Joffrey Academy of Dance, Official School of The Joffrey Ballet in collaboration with Chicago Public Library present four world premieres in the seventh annual Winning Works program, the culmination of Joffrey’s national call for ALAANA (African, Latino(a), Asian, Arab and Native American) artists to submit applications for the Joffrey Academy’s Seventh Annual Winning Works Choreographic Competition. This year’s Competition winners – Shannon Alvis, Sean Aaron Carmon, Karen Gabay and Jimmy Orrante each have choreographed an original work created on the Joffrey Academy Trainees and Studio Company. The Joffrey Academy of Dance’s Winning Works program is presented at the Cindy Pritzker Theater, Chicago Public Library Harold Washington Center, 400 South State Street, over three performances only: Saturday, March 11, at 2:00 PM and 7:00 PM and Sunday, March 12 at 2:00 PM.
“The artistry and diversity of the Winning Works choreographers provide an inspiring look at the world in which we live allowing us to deepen our understanding of the art form”, said Ashley Wheater, Artistic Director of The Joffrey Ballet. “The Winning Works program is an invaluable experience for our Joffrey Trainees and Studio Company providing them the opportunity to grow artistically and perform works created by important voices of dance today.”
“Winning Works empowered me as a female choreographer”, said Mariana Oliveira, 2016 Winning Works Choreographer. “Being a part of this program has opened many other doors for my career. It was a pleasure to work with fearless young talent. I will always hold this experience close to my heart.”
Shannon Alvis is originally from Greenwood, Indiana and received her training at Butler University and the University of Utah. She began her career with the second company of Hubbard Street Dance Chicago (HSDC), then went on to dance and perform professionally with HSDC for nine years. In 2009, Ms. Alvis went on to further her growth as a dancer at Nederlands Dans Theater under the direction of Jim Vincent and Paul Lightfoot.
Her world premiere for the Joffrey Academy of Dance - Moonlight - is a contemporary piece with 5 men and 5 women featuring solo and partner work set to music by Debussy's Clair de Lune. Moonlight is inspired by the poem Clair de Lune by Paul Verlaine, and the beautiful potential that lies within each of the dancers.
Sean Aaron Carmon is originally from Texas and joined Alvin Ailey American Dance Theater in 2011 and has performed major solos and featured roles in ballets by many notable choreographers. His choreography has been performed all across the U.S. and internationally and is lauded as "everything and then some...", "powerful," and "seriously flawless" by major national print and online publications such as The New York Times, Newsweek, JET Magazine, BroadwayBlack, Dance Spirit, and
His world premiere for the Joffrey Academy of Dance - Suite Hearts explores young love in all its varieties — romantic, friendly, playful, emotional, heartbreak, resilience, and the interconnectivity between each. This piece will be performed by 6 men and 10 women.
Karen Gabay grew up in San Diego and has had a career as a ballerina that spans over 35 years. Ms. Gabay made her professional debut at the age of 18 as a principal dancer with Ballet San Jose (BSJ). Her repertoire includes Odette/Odile in Swan Lake, Giselle in the title role and her most favorite role of Juliet in Romeo and Juliet. As a choreographer, she created numerous ballets for the company including the 2012 production of BSJ’s annual production of The Nutcracker which led to her first children’s book, The Nutcracker: A Story in Verse. Gabay is the co-founding Artistic Director of her own ballet troupe, Pointe of Departure, which performs in the bay area and in Northeast Ohio.
Her world premiere for the Joffrey Academy features 10-15 dancers with the women dancing en pointe. The concept of the piece explores the lives of coming-of-age teenagers and will feature a combination of classical and neo classical ballet, acting, and theatrics.
Jimmy Orrante is a native of Los Angeles andhas danced with Nevada Ballet Theatre, Memphis Ballet, and 20 years with BalletMet where he had the opportunity to choreograph 15 premieres for the company. In addition to BalletMet, he has created ballets for Ballet Austin, Motion Dance Theatre, Rochester City Ballet, Ballet Arkansas, Atlanta Ballet’s Wabi Sabi, and UC Irvine’s National Choreographers Initiative. Mr. Orrante’s repertoire includes two full-length ballets, The Great Gatsby, which premiered with BalletMet in 2009 and was reprised in 2015, and the children’s ballet The Ugly Duckling for Rochester City Ballet.
His world premiere for the Joffrey Academy features 6 men and 6 women with the women dancing en pointe. The movement is inspired by the energy within the music, a combination of cascading momentum and a more formal, processional quality.
“The Joffrey is honored to collaborate with the Chicago Public Library Harold Washington Library Center for the first time to present this meaningful and innovative program”, said Greg Cameron, Executive Director of The Joffrey Ballet. “We are grateful for the support of Brian Bannon, Chicago Public Library Commissioner and Mayor Rahm Emanuel as we embark on fulfilling our shared mission and commitment to empowering the community through dance and storytelling.”
"By co-hosting these ambitious programs with The Joffrey Ballet, we are remaining dedicated to supporting lifelong learning for patrons of all ages, in this case, through performing arts”, said Brian Bannon, Chicago Public Library Commissioner. “We hope to inspire people of all backgrounds and ages to engage with both the Joffrey and the library in new and exciting ways.”
Tickets for “Winning Works” at the Chicago Public Library Harold Washington Library Center are FREE. Tickets can be reserved at WinningWorks2017.Eventbrite.com.
The Joffrey Ballet is grateful for the support of its Winning Works Sponsor, The Edward and Lucy R. Minor Family Foundation, Video Production Sponsor Big Foot Media and to its Official Provider of Physical Therapy, Athletico.
About the Joffrey Studio Company
The Joffrey Studio Company is a scholarship program of the Joffrey Academy of Dance, Official School of The Joffrey Ballet. The Joffrey Studio Company consists of 10 outstanding students selected by Joffrey Artistic Director Ashley Wheater and Head of Studio Company and Trainee Program Raymond Rodriguez. The Joffrey Studio Company and Trainees have performed on some of the most prestigious stages, including Lincoln Center in NY, the Auditorium Theatre, Harris Theater for Music and Dance, Cadillac Palace Theatre and MCA Stage in Chicago, Music Hall in LA, The Kennedy Center in Washington D.C. and more. The individualized training and performance opportunities provided by the Joffrey Studio Company offers students unique insight into the life of a professional dancer, assisting students in preparation for a professional career in dance and helping them expand their technique and artistry.
About the Joffrey Academy Trainees
The Joffrey Academy Trainee Program is a one to two-year program for students ages 17 and older who are preparing for a professional dance career. Students are selected to participate in the Trainee Program by invitation from Artistic Director Ashley Wheater and the Head of Studio Company and Trainee Program Raymond Rodriguez. This esteemed and rigorous program gives students a unique and well-rounded experience to prepare them for the next step in their careers. Trainees rehearse and perform classical and contemporary works from The Joffrey Ballet’s extensive repertoire and have the opportunity to work with guest choreographers throughout the year. Graduates of the Academy have gone on to dance professionally with companies throughout the world including The Joffrey Ballet, American Ballet Theatre, New York City Ballet, Staatsballett Berlin, Dresden Semperoper, Complexions, Milwaukee Ballet, Memphis Ballet, Kansas City Ballet, BalletMet, Polish National Ballet, Slovak National Ballet, and many more.
For more information on the Joffrey Academy of Dance, Official School of The Joffrey Ballet and its programs please visit joffrey.org/academy.
About Chicago Public Library
Since 1873, Chicago Public Library (CPL) has encouraged lifelong learning by welcoming all people and offering equal access to information, entertainment and knowledge through innovative services and programs, as well as cutting-edge technology. Through its 80 locations, the Library provides free access to a rich collection of materials, both physical and digital, and presents the highest quality author discussions, exhibits and programs for children, teens and adults. CPL received the Social Innovator Award from Chicago Innovation Awards; won a National Medal for Library Services from the Institute for Museum and Library Services; was named the first ever winner of the National Summer Learning Association’s Founder’s Award in recognition of its Summer Learning Challenge; and was ranked number one in the U.S., and third in the world by an international study of major urban libraries conducted by the Heinrich Heine University Dusseldorf in Germany. For more information, please call (312) 747-4050 or visit chipublib.org.
Las Vegas - Dazzling light displays, glitzy hotels with themes ranging from some of the planet’s most desired locations such as Paris, Venice and Egypt, exciting casinos filled with the sounds of cheering and the cha-chings of slot machines, energetic clubs with sexy dancers and, maybe best of all, some of the most colorful and original shows one could hope to see. When going to Vegas, it’s easy to check the show sites only to be barraged with so many options the task can become a bit frustrating. Well, the good news is the Buzz News Chicago staff makes a point to visit Las Vegas on an annual basis to keep our readers informed on some of the best shows the Strip has to offer. If we don’t like it, we won’t write about. Rather than tell you what not to see, we’d prefer to make recommendations on shows that deserve your attention.
This year, there were a few shows stood out as “must sees”, one of my personal favorites being Jabbawockeez, currently being performed at MGM Grand Hotel and Casino inside the Jabbawockeez Theater. The latest of the Jabbawockeez adventures “JREAMZ” is an amazing blend of hip-hop, break dance and dreamlike theatrics that is thrilling, interactive and best of all, completely original from any other production show. The show, voted three years running for “Best Family Show” and “Best All Ages Show” Jabbawockeez is not just a modern workshop of hypnotic dance moves and brilliant choreography, it is a throwback to mime to which a large amount of humor is injected into its dream sequenced series of events. Despite the lack of any dialogue, the Jabbawockeez dancers, faces hidden in white masks of varying degrees, have no problem communicating their point with their fellow performers and audience members. Considering the vast amount of people who travel to Vegas from around the world, this show gets extra points as a production everyone can follow.
Walking Dead fans will enjoy the show’s beginning that takes its audience through a full on zombie apocalypse, before gradually shifting to rotating successions of dreams that could either fall on the nightmare side, be a joyous, blissful experience or can be an adventure in itself. No matter the scenario of the moment, we always receive a heavy dose of stunning dance moves where you can only shake your head in disbelief or think, “What the…?”
Adding to the comedy of the show, members of the audience are sometimes plucked by the dancers and guided to the stage for some good old fashioned embarrassment that create big laughs. Performed in a somewhat intimate venue for Vegas standards where every seat is a good seat, the audience gets slammed with an up close, in-the-face experience that is sure to be remembered. Jabbawockeez is a unique production that can be enjoyed over and over and suits just about any audience.
The dance troupe is not just recognized in Las Vegas, they have made a splash nationally appearing on “The Ellen DeGeneres Show”, “Dancing with the Stars”. “So You Think You Can Dance” and “I Can Do That”. One of the most original dance productions recognized across the country, Jabbawockeez is a Vegas experience like no other - an experience that will inspire, make you laugh and leave you amazed.
Like most every show in Vegas you can purchase souvenirs of the performance, the main difference being that Jabbawockeez offers products from its own clothes line – and they’re cool!
Tickets for this fantastically entertaining production are very reasonable and in line with many of the other shows on The Strip. Performed at 7p.m. each night except Tuesday and Wednesday, prices range from $49.99-$82.99. For an additional $55 a VIP Package can be purchased which includes a photo op with the Jabbawockeez dancers, an after show meet and greet and a bag of goodies.
Some things were just meant to go together, even if they do sound a little odd at first. Like peanut butter and bananas, apple pie and cheddar cheese, Lady Gaga and Tony Bennet; The Art of Falling is amazing collaboration between Hubbard Street Dance Chicago and The Second City. The unexpected pairing of the extremely original and unique contemporary dance company, and a Chicago improve comedy standard, both staples of Chicago entertainment in their own right, was a match made in theater heaven!
Hubbard Street Dance has done many interesting collaborations in the past, pushing the envelope of what a dance performance is and exposing new audiences to dance in creative ways. In 2014, Hubbard Street and Second City first got together and put together the energetic, unexpected and endlessly engaging performance entitled The Art of Falling. Now back at the Harris Theater by popular demand, the show is once again bringing laughter, joy and maybe even some tears to Chicago audiences.
This distinctive show incorporates so much more than simply dance and comedy. They leverage video - both pre-recorded and live footage, audience interaction, endless props and fantastic music – again both live and recorded. The sheer creativity of this production is mind-blowing. There are 20 pieces that make up this show, each different from the one before but just like a great comedy show, it circles around a primary story line and a few smaller secondary ones, making the whole show flow together seamlessly and move along effortlessly.
The primary story line is a love story of course, but it challenges the traditional silver screen romance as it is rooted in real life where relationships are bumpy and have awkward edges that need smoothing and love - or rather admitting you are in love - is scary. It challenges the audience to take that leap of faith and conquer the fear of falling. After all, what is the worst that can happen?
All of the performers, under the direction of Billy Bungeroth, were pure perfection and there certainly were a lot of them! This collaboration was made up of five choreographers, three writers, six actors and two dozen dancers. At times, it was difficult to tell the comedians from the dancers as each tried on the others role with dancers delivering well timed punch lines and comedians flexing their dancing muscles. The writing was witty and fun, and the choreography was exceptional, highlighting the extreme talents of the dance company as well as their humorous side. In a piece completely improved by both the comedians and the dancers, it draws some unexpected similarities between the art of improv comedy and improv dance.
Part of the appeal of this performance is that it continually surprises the audience with more and more creative, imaginative and inventive pieces. After the first act when you think they cannot top themselves, they prove you wrong with a second act that just keeps on impressing. All of that said, I leave this review here so as to not ruin the magic for you. You have to see this show for yourself. As it wows the audience with its cleverness, it also touches the heart and inspires the audience to take just let go, and not be afraid of falling.
Be sure to get your tickets now and catch The Art of Falling at the Harris Theater through June 19th!
Melissa Thodos the creator of Sono’s Journey and her designers, which premiered at the Auditorium Theatre Saturday, did a wonderful job telling the story of Sono Asato, a dancer who broke age and race barriers from the time she was just fourteen years old. At that same young age, Sono Asato was the first dancer of Japanese descent AND the first American to join the Ballet Russe de Monte Carlo.
I loved the way Thodos chose to use a narrator to tell the story of Asato’s life and used real pictures from Sono's life. I overheard one audience member saying during intermission, the narration really helped the audience understand and empathize with Asato’s life journey without making us guess or make assumptions based solely on the dance and music for each vignette – a very correct observation.
I loved the costumes and lighting, which created a dreamy effect. The dancers were superb in bringing Sono Asato’s unique and trademark hand gestures and delicate yet earthy and natural style of dance to life. Asato’s hands were especially beautiful and expressive resembling the grace and power of mudras of ancient meditation statues.
I found it very interesting that when Osato was refused work abroad with her ballet company, it was a female theater company owner and old friend who welcomed her back to Broadway “dance shows" in order to keep making money dancing to survive.
I also loved the vignette which included how her parent's originally met and fell immediately in love when her father Shoji was sent to photograph her beautiful mother for a performance portrait.
Osato, now ninety-six-years-old, and still a delicate beauty, was brought onstage in a wheelchair and it was announced that Mayor Rahm Emanuel had declared that day, January 8th to be SONO ASATO DAY in Chicago. Sono Asato looked radiantly beautiful as she received her flowers and a roaring standing ovation for her groundbreaking, door opening bravery and exceptional dance performances in the classic works, Sleeping Beauty, Pillar of Fire and The Beloved.
I felt very much honored to be there in Sono Asato's presence that night during the Mayor's announcement. I felt privileged to add my enthusiastic applause and shouts of "Bravo!" for her and the delightful show "Sono’s Journey".
Dance enthusiasts and appreciators will have two more opportunities to see Sono's Journey this winter: February 20th at the North Shore Center in Skokie, and March 5th at the Harris Theater in Chicago, as part of Thodos Dance Chicago's new "Chicago Revealed" Winter Concert series. This particular production is a beautiful piece of work that everyone should experience.
The China Performing Arts Agency presented “Kunlun Myth,” an original musical from producer Wang Yu, for a two-night engagement at The Auditorium Theater of Roosevelt University. “Kunlun Myth” smartly incorporated ancient and modern concepts into an elegant, sparky performance and what better venue to perform than the Auditorium Theater. During this visually stunning show, The Auditorium was filled with an incredible energy. A number of bubbly performances, original dance productions and strong vocals made for a uniquely wonderful experience.
The “Kunlun Myth” begins in the Kunlun Mountains (important fabled mountains in Chinese mythology) where the Heaven Pillar resides. This pillar connects Heaven and Earth, and serves as a portal between the two worlds. Deng Fei, a college student from Beijing, visits the Kunlun Mountains and discovers the relic of the Heaven Pillar. Deng Fei reads the pillar’s inscription and is abruptly transported to Heaven. Once there, he meets Mei Duo, the daughter of the Heaven pillar tribe’s chief. Deng Fei and Mei Duo fall in love. Deng Fei also meets Queen Mother who wishes to rebuild the Heaven Pillar because Gong Gong knocked it down. Gong Gong does not want the pillar rebuilt because he fears that the disasters from Earth will travel through the pillar and destroy Heaven. Ultimately, Deng Fei is on a quest for self-knowledge, and returns back to Earth in good spirit.
Properly capturing the mystical Kunlun Mountains on stage would seem like a difficult feat, but set designers were successfully able to create the magical mountains. Elaborate patterns and set pieces were jaw-droppingly beautiful. The creative juices were really flowing. The lighting designs were dramatic and impressive. Neon lights accentuated set pieces and made the stage pop with color.
From gold, shimmering gowns to casual khakis, the costume department was superb. Every single costume was elegant in its own way, whether it was Mei Duo’s dress, or Gong Gong’s suit of amour. The only character without an elegant costume was Deng Fei, who sported a Yankee snapback, green windbreaker, and khakis.
Beautiful vocals and powerful music made the auditorium rumble. Music styles ranged from pop, rock, and hip hop. Mai Duo sang beautifully, definitely goosebump worthy. Gong Gong had deep, commanding vocals which set the show’s deep and dark mood.
Kunlun Myth was performed in Chinese, with English subtitles to aid audience’s understanding. There were no subtitles for dialogue, only for the musical numbers. Audience members who could not understand Chinese that may have been lost during the dialogue relied on body language to help understand. Since the dialogue was in Chinese, much was left for interpretation.
Performances were held on Wednesday, Sept. 2 @ 7:30 p.m. and Thursday, Sept. 3 @ 7:30 p.m.
This year is the 15th anniversary of New Dances, a series brought to life by Thodos Dance Chicago. New Dances is forum designed to foster and support dance artists in the creation of new works, an often challenging and expensive ordeal. In addition to providing support for dancers and choreographers, it also incorporates upcoming lighting and costume designers, all from the Chicago area, bringing together a comprehensive line up from emerging talent in the Chicago dance community. Over the past 14 years, New Dances has lead to artists receiving fellowships for graduate dance studies, starting their own companies and having their work commissioned across many professional settings.
With 9 pieces, this 15th anniversary show had a great variety that could entertain even the most dance illiterate. There were two performances of New Dances at the Atheneum Theater, July 18th and 19th. With a small cast of dancers, the curtain dropped after each piece and the house lights came on, giving the audience a chance to discuss their thoughts on each piece throughout the show.
A few of the earlier pieces, heavily rooted in the contemporary style of the Thodos Dance Chicago company, shared many common characteristics (even a few of the same exact moves) which made me a little nervous about potentially seeing 9 pieces that were all too similar. While each was extremely well executed and beautifully performed, it felt like too much of the same for my tastes.
Luckily things took a huge stylistic turn with “All You Need Is”, choreographed by Taylor Mitchell. The cast of 8 dancers, adorned in simple black pants and black and white striped tops performed a French inspired piece centered on the theme of love. The work was visually stunning, combining great staging and strong choreography with hundreds of small red paper hearts being strewn around the stage in coordination with the movement and music. It combined very traditional, ballet inspired moves with a quirky twist that reminded me of watching an old silent movie. It brought the audience to life with laughter and love.
Another of my favorites was “Miriam” choreographed by Brian McGinnis. Set to original music, this piece was made up of a solo and two duets each unique but flowing together wonderfully. The first duet portrayed a couple in the midst of an affair but with a charmingly hilarious story. The song features singers who couldn’t stop laughing, and their silliness translated into the dances with great eccentric elements to the movement. The second duet seemed to ebb and flow around the stage with an effortless grace that made your heart feel light; an excellent contrast to the other duet and it rounded out the piece nicely.
The final of my top list was “Something To Do With Five”; a smooth, mellow, contemporary performance by 5 male dancers choreographed by Jessica Miller Tomlinson. The lighting, costumes, music and movement all elicited this thought of molasses, sweet tea and summer nights. The piece used creative lighting, and interesting staging as a compliment to the dancers and the movement. Throughout, there were great moments but the ending was so original, it left a great final impression. With the five men lined up at the front of the stage, the red velvet curtain fell to just inches over their head, the lights dropped to a simple backlight and the a hush fell for the final moments of the piece.
While there were some great dancers and excellent choreography, a surprising standout of the whole performance was the lighting design. The unique lighting added an amazing dimension to all of pieces and really brought it all together.
For fans of dance, or those interested in expanding their scope of dance performances, New Dances is a great show. And who knows, you may catch the first time showing of a piece destined to international fame!
While you may have missed New Dances this year, you can still catch Thodos Dance Chicago at other performance this year. For more on Thodos Dance Chicago and future performances by the company check out thodosdancechicago.org.
Game of Thrones, breasts, and booty: if you're an admirer of any of these three -- scratch that, four -- things, then you are well-suited to play the Game of Thongs. A burlesque revue of the wildly popular HBO show and book series by George R. R. Martin, Game of Thongs is an hour-long adventure through the land of Breasteros and across an overwhelming Narrow Sea of pasties.
Things are awry in the kingdom of Breasteros when Ned of House Stark-Naked is appointed the new Hand Job of the King and must travel to the capitol, King's Landing Strip, to assist his old friend King Robert of House Bare-ass-eon. As the tale unwinds, we meet the other members of House Stark-Naked, the closer-than-appropriate Lannister sibling duo, a pack of dancing direwolves, the sensitive Jon Snow ("the only bastard hot enough to melt the Wall"), the hilariously petulant to-be-king Joffrey, and as many other GoT characters that could be crammed into sixty minutes as imaginably possible.
("Wait, who died?" "Jon Arryn." "Who's that, again?" "The old Hand Job of the King! His death started all these shenanigans!" "Oh, right, right." Even the characters can't keep the characters straight.)
We also meet Daenerys Tits-bare-yen and her brute of a fiancé Drogo. Their marital bliss is interrupted by the insufferable Viserys who, when receiving his final punishment, a vat of golden glitter dumped on his head, realizes he "will never be royal!" (You guessed it; queue the Lorde track.)
A tribute as well as a parody, Game of Thongs affectionately makes fun of the well-loved drama everyone can't seem to get enough of. As a burlesque, it's less erotic than it is cheeky -- after all, you will find more nudity in the TV show than you will in the burlesque -- but if you're a fan of Game of Thrones, exuberant camp, or can appreciate a well-placed set of glittering pasties, you will certainly survive the Game. For in the Game of Thongs, you strip or you die.
Game of Thongs is playing at the Gorilla Tango Theatre every Friday at 10:30PM until June 26th. Call (773) 598-4549 or visit gorillatango.com to purchase tickets. #TittiesAreComing
A one-time performance by the touring Argentinian group, "Tango Buenos Aires" was as invigorating as it was eloquently graceful! Presented in the stunning, historical Auditorium Theater in Chicago's downtown, the theatre interior rivaled the beauty of the dancers. Built in 1889, and acquired by Roosevelt University some years ago, the theatre hosts a wide array of traveling shows from all over the world. Exquisitely gilded and brilliantly lit, the theatre holds over three thousand in its audience and commands a high standing among Chicago's illustrious theatres, with First Lady Michelle Obama residing as honorary chair.
The performance itself was rich in tradition as spinning couples traced the floor in group dances which were not only reminiscent of the history of the Spanish tango, but hinted at a worldwide similarity in communal expression through dance. The dances themselves paid homage to that legendary Argentinian lady Eva Peron, featuring the ballad "Don't Cry for Me Argentina," from the musical based on her life, and following her progression from young girl through her singular political career.
Highlighting the evening was a dance performed solely by the men, who became a part of the music through the rhythmic use of the boleador, a slingshot-like tool reminiscent of a lasso. The boleador is a tool traditionally put to use in Argentina to help in rounding up cattle. However in this instance, the men held one in each hand and swung them around quickly in the manner of a jump rope. As the end of the boleador reached the floor, the resultant tapping was masterfully used to create rhythms even as the boleador span around the men in dexterous patterns amazing to behold.
A beautiful event, rich in culture and refreshingly artistic, Tango Buenos Aires is an experience to remember!
"Stories in Motion” is a beautifully selected trio of individual story ballets performed at the Auditorium Theatre on Congress.The first "Prodigal Son" with choreography by George Balanchine tells the well-known biblical tale of the rebellious and curious son who leaves his home only to be beaten down by life and love in the city. Although Balanchine is one of my very favorite choreographers I found the movements in this piece to be somewhat slapstick and jarring. However, Christine Rocas as the Siren who lures The Son, Alberto Valazquez was a petite delight, moving sinuously and majestically through the piece. And the final moment when the Prodigal son returns broken and crawling to his father masterfully played by Ashley Wheater, and crawls/climbs up his father’s legs and into his arms to be carried offstage is a satisfying heart wrenching finale.
“Lilac Garden" is completely and refreshingly different and is set in the Edwardian period where two lovers are forced to have their last dance before retiring into the loveless marriages arranged for them by society. The characters, simply called Caroline, Her Lover and The Man She Must Marry are all subtly, beautifully and delicately danced by Victoria Jaiani, Dylan Guitierrez and Miguel Blanco.
Raku, which means “pleasure” in Japanese, is the stunner of the evening. Based on the tragic tale of a Princess who is stalked by an evil Monk who rapes her, kills her lover and sets fire to the temple she lives in, is a devastating ballet full of acrobatics and sword play that really moves the audience with well-played melodrama.
Victoria Jaiani as the Princess has a real tour de force performance here and does something I have never seen before in a classical ballet program. After the horrifying rape scene, after her servants/ guards have been beaten and dispersed and her temple is burning to the ground, the Japanese Princess takes down her long flowing hair.
The Princess has had everything taken from her, her lover, her guards, her virginity, and her home are all destroyed by the evil Monk. Finally, Jaiani’s tightly wrapped bun of hair is pulled out to reveal her waist length, shining black hair.
As Jaiani crawled, shaking with rage and despair across the stage, half on pointe and half on her knees, she pulled her long, beautiful black hair out and away from her face with her hands like a lions mane and scooped up the ashes of her burning temple to pour them over her head and face in a final dramatic gesture of complete destruction and loss of sanity.
I highly recommend seeing an ever dynamic and always richly staged Joffrey Ballet production. Swan Lake begins October 15th.
*photo - Lilac Garden: #362 (Victoria Jaiani)