Displaying items by tag: Hubbard Street Dance Chicago

Steppenwolf's cozy downstairs theater provided the ideal setting for an evening of outstanding and expressive dance by the highly acclaimed Season 47 Fall Series by Hubbard Street Dance Company.

The performance began with Aszure Barton's “return to patience,” featuring the entire company uniformly dressed in simple, gray and pale blue loose-fitting attire, defying gravity by leaning into space rather than onto each other. The piece masterfully captures a sense of restless animation striving for contemplative serenity, achieving this balance beautifully. (Set to Caroline Shaw’s “Gustave Le Gray,” an adaptation of Chopin’s gentle “Mazurka in A Minor, Op. 17, No. 4”).

The second piece, a solo performance titled “Show Pony” (2018, HSDC premiere 2023), danced by Shota Miyoshi, stands in stark contrast to “return to patience.” Clad in a formfitting, shiny gold Vegas Elvis jumpsuit, Miyoshi's performance is spectacular. He is literally spotlighted with beautiful lighting by Dan Scully that appears and disappears, as he dominates the stage. The term “Show Pony” perfectly encapsulates Miyoshi's confident and explosive dancing.

Lar Lubovitch’s “Prelude to a Kiss” (2005, HSDC 2023) is a romantic delight, danced superbly by Alexandria Best and Elliot Hammans with palpable chemistry. The couple's dance and flirtation are mesmerizing, with Best sometimes hanging from Hammans' arms like an exquisite butterfly. Their duet is mesmerizing and romantic, culminating in a breathtaking moment as Hammans gently removes the shoulder straps from Best's gown, one at a time, and plants a single, masterful kiss on the exposed nape of her neck.

In “Sweet Gwen Suite”, Cyrie Topete, Dominick Brown, and Aaron Choate dazzle in wildly sexy, bedazzled leather and Mexican-style form-fitting pants and bolero jackets, with costumes designed by Bobby Pearce. This number by Bob Fosse and Gwen Verdon exudes sass, flair, and self-confidence. Brown and Choate support lead dancer Cyrie Topete, who shines in what feels like a near-solo performance. Topete makes every gesture count, from smoking and extinguishing her cigarette with a sexy twist of her leather boot toe, to the defiant lift of her chin and single smile at the end, like a victorious matador. The act was set to Herb Alpert & Tijuana Brass’ “Mexican Shuffle,” Lola Schiffrin’s “Cool Hand Luke,’ and “Mexican Breakfast” by Johnny Mandel.

Hubbard Street Dance Chicago in 'BUSK' by Aszure Barton.

Hubbard Street Dance Chicago’s opening night of the company’s Season 47 Fall Series was graced by the presence of Nicole, the daughter of Bob Fosse and Gwen Verdon. HSDC proudly became the first company to collaborate with the Verdon/Fosse Legacy to showcase Fosse's work. As a longtime admirer of Verdon/Fosse-inspired dance, this collaboration brought their iconic style to life in a thrilling and deeply satisfying way.

In the show’s final act, “Busk” by Aszure Barton opens with Elliot Hammans sleeping on the street, transforming into a character reminiscent of Buster Keaton, complete with hat and cane. Hammans' wonderfully expressive face enhances his dance performance, as he is joined by a cast of street people. Their movements range from defiant leaps to huddled masses, pleading for help with outstretched arms, their faces conveying profound sadness, struggle, and desperation. Random vocalizations are also used by the dancers, which really add to the already stunning piece. The entire dance company is involved in what is the perfect finale.

I highly recommend this incredible and passionate selection of dance performances, including the collaboration with the Gwen Verdon Bob Fosse Legacy, for audiences of all ages. The Hubbard Street Dance Chicago dancers are uniquely gifted and each piece so mesmerizing, making it difficult to pick a favorite number. The company’s Season 47 Fall Series, beautifully staged at Steppenwolf’s Downstairs Theatre, was truly a night of dance you and your family and friends will never forget.

For more information on Hubbard Street Dance Chicago’s current and upcoming performances, visit https://www.hubbardstreetdance.com/.  

(*Dancers alternate roles in performaces depending on select dates. This review reflects the dancers performing for the specific performance reviewed.) 

Today, Hubbard Street Dance Chicago (HSDC) announced program selections for Winter Series: Of Hope, the second installment of Season 46, Abundance. The engagement will include the world premieres of three unique works, alongside an encore of audience favorites, Love Infinite by Randy Duncan; and Dear Frankie by Rennie Harris. The Winter Series will be presented at the Museum of Contemporary Art Chicago (220 E. Chicago Ave.) Feb. 23 through March 3, 2024.

“Of Hope speaks to our anticipation and promise for the future,” explains HSDC Artistic Director Linda-Denise Fisher-Harrell. “Our Winter Series will feature three inspiring world premieres that will further shape who and where we are as a company: dynamic, broad and eclectic.”

The mixed repertory Winter Series: Of Hope will serve as a breath of fresh air for audience members with a combination of inventive world premieres and beloved revivals. Program A (Feb. 23 – 25) will present an encore of Randy Duncan's Love Infinite, hailed as "athletic and balletic and crowd-pleasing" by Irene Hsiao with the Chicago Reader, along with the recent HSDC commission Dear Frankie by Doris Duke award-winner Rennie Harris. The world premiere of a new duet by Resident Artist Aszure Barton completes the program. 

Program B (Feb. 29 – March 3) will feature two world premieres: Echoes of our Ancestors by acclaimed director and choreographer, Maria Torres, whose contributions have paved the way for Latinx artists, and another by HSDC alums Alice Klock and Florian Lochner, known together as FLOCK. While Klock and Lochner have individually choregraphed pieces for the company, this will be FLOCK's first work on HSDC. The program will also present another chance to experience Rennie Harris’ tribute to Chicago house music, Dear Frankie.

For those interested in deepening their engagement with Hubbard Street, tickets are also on sale for the special Opening Night event on Thursday, Feb. 22: Bold Moves for Bold Voices, a fundraising event and performance that brings together rising artists and innovative leaders in our community. Led by HSDC Artistic Director Linda-Denise Fisher-Harrell, the curated conversation will give audience members an inside look at the process behind creation with award-winning writer, producer and educator Tarell Alvin McCraney (Oscar-winner for Moonlight, Geffen Playhouse Artistic Director, MacArthur “Genius” Grant recipient) and acclaimed choreographer and HSDC Resident Artist Aszure Barton, whose newest work will premiere during the program.

Tickets for Season 46 Winter and Spring programs are now available by calling the Hubbard Street Box Office at 312-850-9744 ext. 5, or by visiting www.hubbardstreetdance.com/season-46/tickets/ and range from $15 to $95. Midseason Subscription are also available for those interested in unlocking a great suite of benefits for Winter and Spring Series and beyond, and start at $52. Visit www.hubbardstreetdance.com to learn more.

Hubbard Street is grateful to Season 46: Abundance partners Athletico Physical Therapy, Chicago Athletic Clubs, and the Illinois Arts Council for their continued support.

The Season 46 Winter Series: Of Hope performance schedule is as follows:

Winter Series: Of Hope

Thursday, Feb. 23 – Sunday, March 3, 2024

at the Edlis Neeson Theater, Museum of Contemporary Art Chicago

Friday, Feb. 23, 8 p.m.

Saturday, Feb. 24, 8 p.m.

Sunday, Feb. 25, 3 p.m.

PROGRAM A Featuring:

Love Infinite by Randy Duncan

A World Premiere by Aszure Barton

Dear Frankie by Rennie Harris

Thursday, Feb. 29, 7:30 p.m.

Friday, March 1, 8 p.m.

Saturday, March 2, 8 p.m.

Sunday, March 3, 3 p.m.

PROGRAM B Featuring:

Echoes of our Ancestors by Maria Torres

A World Premiere by FLOCK 

Dear Frankie by Rennie Harris

About Hubbard Street Dance Chicago

Hubbard Street Dance Chicago’s mission is to bring artists, art and audiences together to enrich, engage, educate and change lives through the experience of dance.

For 46 years, Hubbard Street has been one of the most original forces in contemporary dance – bringing top choreographers and works to Chicago and beyond. Hubbard Street’s ever-evolving repertory, created by today’s leading choreographic voices, makes them a company that dancers aspire to join and performance venues all over the world are eager to host. To date, the main company has performed globally in 19 countries and 44 U.S. states.

At home in Chicago, Hubbard Street performs 20 times a year and delivers renowned education programs in 50 classrooms across 17 Chicagoland schools. HSDC Education utilizes the choreographic process to teach essential problem-solving skills, creativity, and collaboration - expanding our reach beyond traditional concert dance audiences, ensuring that everyone has access to world-class dance and instruction.

Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio in 1977, and Conte served as Artistic Director for 23 years. Linda-Denise Fisher-Harrell began her tenure at the company in March 2021. In January 2022, HSDC moved to their new home in Water Tower Place on Michigan Avenue.

Visit hubbardstreetdance.com for more information.

Returning to the Auditorium Theatre after a long 20-year absence is Hubbard Street Dance Chicago with its 40th Anniversary Spring Series. This edition spotlights Spanish born Resident Choreographer Alejandro Cerrudo, who joined Hubbard Street Dance Chicago in 2005, and was named Choreographic Fellow in 2008 and became the company’s first Resident Choreographer in 2009. He’s a recipient of multiple awards, including prestigious Rudolf Nureyev Prize for New Dance.

The show is a progression of Cerrudo’s works, from old to new. It has a pleasant start with his earliest piece, Lickety Split, originally performed in 2006 at the Harris Theater as part of the Inside/Out Choreographic workshop. Celebrating athletic femininity and confident masculinity and set to music by renowned songwriter Devendra Banhart, Lickety Split is about modern love and romantic relationships. It’s very beautiful and has well balanced energies.
But then something completely unexpected happens. The spotlight is on a balcony where a captivating, extravagantly dressed and coiffed female (Rena Butler) is seated, casually talking to the audience about the nature of reality. She is smoking a pipe, while blowing our minds with [Alan Watts’] philosophical concepts. Amazing.

And so the drama begins. More new age philosophy is injected into the show when David Schultz walks out on stage, wearing a cane and delivering another serving of food for thought. The following piece, Off Screen, though highly theatrical, doesn’t take itself too seriously. Inspired entirely by film, it makes lighthearted mockery of Italian musicals and romantic European movies. The music is comprised of 16 passages from various movie scores. Off Screen features seven dancers layering gorgeous fluid movements as if in a dream, their dancing defying gravity and somehow helping to get across the spiritual points introduced earlier. Off Screen was Cerrudo’s third work created for Hubbard Street back in 2009.

After the intermission, it’s the energetic Silent Ghost that originally premiered in 2015 at the Aspen Santa Fe ballet. It feels tribal yet romantic, despite the monochromatic costumes.

The grand finale of the evening is the world premiere of Out of Your Mind. This piece brings everything together: the mysterious monologues earlier in the show, the flow and progression of the pieces, the dreamy dancing. What makes it futuristic is the pulsating energy, and the shapes and configurations of the dancers. At some point, orderly chaos ensues on stage, dancers moving in waves [and somehow particles]. Set to the soundtrack of the soothing voice of the contemporary philosopher Alan Watts, it’s a breathtakingly beautiful and uplifting experience. The piece was inspired by Alan Watts’ lectures called “Out of Your Mind”; Cerrudo borrowed the music that was used in the audio of the lectures and used it in this piece. I’d say contemplating God possibly never looked more spectacular.

Let’s welcome in summer and enjoy the history of Hubbard Street Dance Chicago at the Harris Theater with a collection of eight dances of varying styles and intriguing music. Pieces old and new, reworked and original amazed one after another including Lucas Crandall’s (Imprint - Duet), William Forsythe’s (reproduction of One Flat Thing), Alejandro Cerrudo’s (One Thousand Pieces - Water Section), Jim Vincent’s (Palladio), Crystal Pite’s (A Picture of You Falling), Twyla Tharp’s (The Golden Section), and Lou Conte’s (Georgia and the 40’s).

This historical glance 40-year glance at the iconic dance company brings forth a walk through time and the growth of Hubbard Dance. Lou Conte’s romantic summer love of ‘Georgia’ was originally premiered in 1987 as part of “Rose from the Blues” and makes you ache for the loss of summer love. Even more history is bestowed upon the crowd with the happiness, creativity of the 40’s, also by Conte. Infusing big band music, 40’s style dance, jitterbug moves and the feeling of the celebrations of old Hollywood, the piece is truly a joy to watch.

“The Golden Section” choreographed by Twyla Tharp/Tharp Project, in its golden velour and unabashed 80’s energy that had originally been performed on Broadway in 1981, brought a liveliness and fun to the stage. The enthusiasm and vibrancy had audience members bobbing their heads and giggling along with the sheer fun of the dancer’s movement and energy.

Something for everyone, Hubbard Street’s Summer Series 39 will truly grab your attention with the loving duet of “Imprint” by Lucas Crandall and romantic “Palladio” by Jim Vincent. Theater goers will fall under the mesmerizing spell of the smokiness and ethereal beauty of ghostlike figures and sounds of water in “One Thousand Pieces” by Alejandro Cerrudo. Children and adults alike will be enthralled with the chaotic energy of “One Flat Thing”, in awe of the dancer’s abilities to move between, over, under and through the flat things with such speed, grace and fluidity.

Beautiful and graceful, “A Picture of You Falling” by Crystal Pite will capture the audiences’ attention from start to finish, leaving you out of breath, and wondering, if this is how it really will be in the end.

Through a night of innumerable feelings and experiences, this historical journey into the past of “Hubbard Street Dance at 40”, was a thrill for all families and fans of dance. So very few places can provide such a complete feeling of history and nostalgia while also inspiring all of us to see what the future will bring.

Hubbard Street’s Summer Series 39 was performed at the Harris Theater for Music and Dance. For more information on this amazing dance company and to see future events, visit www.HubbardStreetDance.com.

Hubbard Street Dance Chicago delivered a powerful evening of dance, on the opening night of its Season 39 Springs Series at the Harris Theater for Music and Dance.

The evening began with Lucas Crandall’s Imprint, a stark and physically compelling piece featuring the full company: Jacqueline Burnett, Alicia Delgadillo, Alice Klock, Emilie Leriche, Adrienne Lipson, Ana Lopez, and Jessica Tong as well as Jesse Bechard, Michael Gross, Elliot Hammans, Jason Hortin, Florian Lochner, David Schultz, and Kevin J. Shannon.

The amazing choreography was inspired in part by stampedes, according to Crandall. The dance was accompanied by live, improvised percussion from Hubbard Street Dancer David Schultz, whose pounding beat gave a rhythm to the chaotic scenes as dancers convulsed in groups, then separated, ran, fell, paused and then stepped over the fallen. The first half of the work evoked an almost futuristic and robotic feel, while the second half was more simple and bare, primitive and untamed, also exposing how crowds build, move and panic.

Choreographed by Nacho Duato, the second piece, Violoncello, from his evening length work, Multiplicity. Forms of Silence and Emptiness, is a two-act tribute to composer Johann Sebastian Bach, performed to Bach’s Suite No. 1 in G major. Captivatingly executed by Ana Lopez and Florian Lochner, Violoncello was a vision of exquisite movement showing the interplay – push and pull - between instrument and composer.

Earthy, muted yet evoking the passion of struggle, the next dance Jardí Tancat (Catalonian for “Closed Garden), also created by Duato, is based on a collection of ancient Spanish folk songs recorded by vocalist María del Mar Bonet. Hauntingly, three couples: Jacqueline Burnett, Michael Gross, Alicia Delgadillo, Kevin J. Shannon, Jessica Tong, and Jesse Bechard, show the movements of sowing, planting, and threshing, of the barren Catalonian land. Laced throughout the very moving piece is a spirit of perseverance and hope despite the hardships.

Completing the evening’s lineup was Solo Echo by Crystal Pite. It is stunning from its opening moments as glimmering lights filter down on a solo figure who is eventually joined by other dancers in very familial and interconnected movements. Dancers for Solo Echo included: Jesse Bechard, Jacqueline Burnett, Alicia Delgadillo, Michael Gross, Jason Hortin, Emilie Leriche, and Florian Lochner.

It “presents a man reckoning with himself at the end of his life,” explains Pite. “The character is echoed — copied, reiterated, by seven different dancers. He is portrayed through both male and female bodies, and through various physiques and strengths. Each performer is a distinct and nuanced version of the character, and the connections between them evoke a man coming to terms with himself.”

Hubbard Street Dance’s Season 39 is off to a very commanding start with an impressive body of work in its Spring Series. Part of a three-part program, additional series performances include: DANC(E)VOLVE: New Works Festival May 11–14, 2017 at the Museum of Contemporary Art Chicago and Summer Series, June 8–11, 2017 at the Harris Theater.

Season 39 three-series subscriptions are available online at hubbardstreetdance.com/subscribe.

This summer the 9th annual Chicago Dancing Festival returns with four days of free dance performances throughout the city. On Wednesday evening, the MCA hosted a production entitled Modern Women in the Edlis Neeson Theater for two back-to-back shows. 

As the audience filed into the theater, a video of Loie Fuller’s “Serpentine Dance” was projected onto the back wall of the stage.  The film is from 1896 and each frame of the film was tinted by hand to give an already beautiful and fluid dance piece the additional magic of what appears to be a color changing costume. The show continued to incorporate projected video and photos at the start of each piece taking us back in time to see the founding women of modern dance. This was a great addition to the show, however each clip lasted for close to a minute and the lack of background music made for a somewhat uncomfortable silence in the theater – interrupted more than once by someone’s cell phone ringing!

The show was 1 hour with 5 pieces. The first piece was “Valse Brillante”, originally choreographed by Isadora Duncan in 1915, performed by Lori Belilove & The Isadora Duncan Company. As the introduction video clip showed, many of Isadora Duncan’s works were performed outside in nature. This piece transported us to a summer garden with the light and airy movements flowing together perfectly to the buoyant music of a solo piano. The graceful silk costumes floated behind the dancers who beautifully executed a classic piece of modern dance. 

Martha Graham is one of the most well known names in modern dance with a long legacy. “Deep Song” is a solo work, originally performed by Martha Graham herself in 1937, recreated on the stage by Blakeley White McGuire of the Martha Graham Dance Company. It was performed in the same costume designed for the original piece, a lovely full-length black and white dress which is as much a part of the performance as the dancer and the bench incorporated into the choreography. The piece is powerful, full of fear and distress, and it had the audience entranced.

The final 3 pieces were newer works paying homage to other masters of modern dance including Doris Humphrey, Ruth St. Denis and Ruth Page. My favorite of these pieces was “A Picture of You Falling” by Hubbard Street Dance Chicago. This solo piece was a short piece brilliantly performed by Jason Hortin in the show I attended.  Choreographed by Crystal Pite and set to a composition of voice-overs and sound effects, it was an amazingly athletic and noteworthy piece. With a flavor of bone breaking dance style characterized by rhythmic contorting movements of the body, it had me completely absorbed and as a short piece it left me wanting more! The level of applause for this piece in the curtain call has me thinking the rest of the audience agreed with me on this being a standout of the show!

Overall the show was a great tribute to the women whose creativity, inspiration and courage brought us a new form of dance that broke from the traditions of ballet and paved the way for so many dancers and choreographers after them. It was a great show even for those not versed in modern dance, with accessible pieces that stirred your emotions. The Chicago Dancing Festival runs from August 25th to the 29th and is a great opportunity for those passionate about dance as well as those who are just interested in a night out. If you missed it this summer, keep your eyes out for shows next summer!