Displaying items by tag: Dance

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.) 

IDENTITY PERFORMING ARTS Presents Fall Concert “Embrace” World Premiere in Chicago for Two Performances 

Location:

Ann Barzel Theater

Visceral Dance Center, 3121 N Rockwell St, Chicago, IL 60618

Tickets@$30>

Book on Eventbrite

Saturday, November 16 @7PM

https://EmbraceNov16Sat.eventbrite.com

Sunday, November 17 @PM

https://EmbraceNov17Sun.eventbrite.com

 For more information, call 312.600.3076 or visit

https://www.identityperformingarts.org/

About the Program:

Embrace unveils memories of a month-long adventure through South America. On this journey, choreographer Ginny Ching-Yin Lo, explored the passion of Tango, the duality of youthful exuberance even in the presence of adversity, reminiscence of her own mother, and empowering voices still to be heard.

Entwined embodies the curiosity and passion of Tango in Buenos Aires, Argentina, inviting us to embrace the beauty of connection.

River Squalor shifts our focus to the joy of life, as seen through the eyes of local children in Manaus, Brazil, reminding us that happiness is a mindset. 

Amalgam of Emotions offers heartfelt tribute to the celebration of life, showcasing the power of love and remembrance across Hong Kong, Shanghai, and Chicago, honoring our loved ones close or afar.

Voices empowers us to transcend the barriers of our understanding and misconceptions of others. Being heard allows us to soar beyond mere agreements and foster genuine connections.  Voices is partially supported by the Evanston Arts Council Cultural Fund Grant.

Press Review:

https://seechicagodance.com/review/lighting-way-identity-performance-arts

About Identity Performing Arts:

Identity is a not-for-profit organization established in 2016 by founder and artistic director, Ginny Ching-Yin Lo, focused on teaching dance to the underserved community and creating independent dance projects. Lo has performed in the U.S., China, France and Germany with her original works. In 2020 fall Identity expanded beyond teaching and transitioned to a full season professional dance troupe. The company's first live concert debuted in fall, 2021 and is one of the resident companies of Visceral Dance Center since 2022. Identity has performed locally in Chicago, Evanston, and internationally in Hanover, Germany. The company presented Enliven & Perpetual in Seattle International Dance Festival this summer along with companies, globally.  Identity hosted its own Elpis Dance Festival 2024; and closed its summer season in Navy Pier’s Wave Wall Moves featured by See Chicago Dance.  This fall, Identity will debut outstanding new dance works, followed by collaborative project with a national company from Seattle next spring and an international engagement next summer. All works created for and performed by Identity dancers express the beauty of our individual identities, interconnected in unity. We invite you as our audience, to witness this intention with every dance work.

What source materials make a great ballet? Can everything be interpreted through dance? It’s a fair question when considering Joffrey Ballet’s new adaptation of Ian McEwan’s complex novel. This sumptuous co-production with Ballett Zurich is proof that the sky’s the limit when it comes to what’s possible on stage.

Those who have read the novel or are familiar with the 2007 Joe Wright film will certainly find the plot a bit easier to follow. However, through Cathy Marston’s fascinating choreography, the ill-fated romance leaps off the stage. ‘Atonement’ begins at the Tallis family estate in the English countryside during one sultry summer evening in 1935. Young Briony Tallis (Yumi Kanazawa) witnesses a sexual congress between her older sister Cecilia (Amanda Asssucena) and Robbie (Alberto Velazquez), the son of one of the servants. Later in the evening, her cousin is attacked in the dark by an unknown prowler. Assuming the incidents are related, she implicates Robbie and forever changes the course of his and Cecilia’s lives.

Ian McEwan’s novel endures as one of the most inventive books of the early 00s in part because of its unique story structure. Joe Wright honored that in his film version by showing the same scenes from various points of view. ‘Atonement’ the ballet takes a unique approach to narrative structure with the traditional act order somewhat altered.

‘Atonement’ is forthrightly erotic. Given the deeply romantic plot between Cecilia and Robbie, it’s imperative for the audience to believe their chemistry. And that chemistry is hard to deny. Amanda Asssucena and Alberto Velazquez move with fluidity that may put a little sweat under your collar. Afterall, not every ballet is ‘The Nutcracker’.

Laura Rossi’s score pulls every emotion to the surface. A buoyant, romantic first act is balanced out by the urgent sounds that simulate the horrors of WWII-era London in the latter half of the ballet. Along with artful staging by Adam Blyde and Anastacia Holden, ‘Atonement’ is a feast. From the costumes to the minimalist setting, this production oozes sensuality.

The Joffrey Ballet has a certain knack for literary adaptation. ‘Atonement’ is another installment in their archive of hits. Classic settings provide a perfect backdrop for provocative modern steps that take your breath away. ‘Atonement’ achieves romantic complexity without words, proving how universal feelings of heartbreak and longing are. 

Through October 27 at Joffrey Ballet, Civic Opera House, 20 N Wacker Dr. 312-386-8905 

Identity Performing Arts presents their Fall concert with the World Premiere of “Embrace” in Chicago for two performances.

Location:

Visceral Dance Center in the Ann Barzel Theater, 3121 N Rockwell St, Chicago, IL 60618

Tickets @ $30

Book on Eventbrite

When: 

Saturday, November 16th @ 7PM

https://EmbraceNov16Sat.eventbrite.com

Sunday, November 17th @ 7PM

https://EmbraceNov17Sun.eventbrite.com

For more information, call 312.600.3076 or visit

https://www.identityperformingarts.org/

 About the Program:

Embrace unveils memories of a month-long adventure through South America. On this journey, choreographer Ginny Ching-Yin Lo, explored the passion of Tango, the duality of youthful exuberance even in the presence of adversity, reminiscence of her own mother, and empowering voices still to be heard.

Entwined embodies the curiosity and passion of Tango in Buenos Aires, Argentina, inviting us to embrace the beauty of connection. 

River Squalor shifts our focus to the joy of life, as seen through the eyes of local children in Manaus, Brazil, reminding us that happiness is a mindset.  

Amalgam of Emotions offers heartfelt tribute to the celebration of life, showcasing the power of love and remembrance across Hong Kong, Shanghai, and Chicago, honoring our loved ones close or afar. 

Voices empowers us to transcend the barriers of our understanding and misconceptions of others. Being heard allows us to soar beyond mere agreements and foster genuine connections.  Voices is partially supported by the Evanston Arts Council Cultural Fund Grant. 

Press Review:

https://seechicagodance.com/review/lighting-way-identity-performance-arts

About Identity Performing Arts:

Identity is a not-for-profit organization established in 2016 by founder and artistic director, Ginny Ching-Yin Lo, focused on teaching dance to the underserved community and creating independent dance projects. Lo has performed in the U.S., China, France and Germany with her original works. In 2020 fall Identity expanded beyond teaching and transitioned to a full season professional dance troupe. The company's first live concert debuted in fall, 2021 and is one of the resident companies of Visceral Dance Center since 2022. Identity has performed locally in Chicago, Evanston, and internationally in Hanover, Germany. The company presented Enliven & Perpetual in Seattle International Dance Festival this summer along with companies, globally.  Identity hosted its own Elpis Dance Festival 2024; and closed its summer season in Navy Pier’s Wave Wall Moves featured by See Chicago Dance.  This fall, Identity will debut outstanding new dance works, followed by collaborative project with a national company from Seattle next spring and an international engagement next summer. All works created for and performed by Identity dancers express the beauty of our individual identities, interconnected in unity. We invite you as our audience, to witness this intention with every dance work.

100 days of summer. The unofficial Chicago holiday season between Memorial Day and Labor Day is a local challenge to get out and experience all the city has to offer from 1:20 games at Wrigley to concerts on Northerly Island, festivals, fairs, and everything in between. I can think of no better way to savor these fleeting days than spending an evening with Savor After Hours.

Savor After Hours is a decadent and artistic showcase of dance pairing beautifully choreographed numbers akin to a delicious glass of wine.Created, written, and directed by Mark Swanhart, Savor After Hours features a cast of exceptionally talented dancers, led by former dancing with the stars dancers, Valentin Chmerkovskiy, his wife, Jenna Johnson-Chmerkovski, and his brother, Maksim Chmerkovski. Artem Chigvintsev, Daniella Karagach, Pasha Pashkov, Allie Meizner, Jack Moore, Jalen Forward, Kayli Johnston, Kenidee Allen and Olivia Cava round out the intimate ensemble dance crew, and invite you to sit and savor the art of dance in the intimate Broadway playhouse. Like a good glass of wine they help you forget about the noise and bustling of Michigan Avenue only steps away.

The show is like a well-choreographed wine tasting, there is something for everyone. Those seeking bold flavors, there are spicy Latin tango sequences filled with passion and romance. For those with a sweet tooth, there are delicate contemporary dances with achingly long lines that pull taut on your heartstrings. From intimate tangos, quick hitting jives, sensual merengues, and cute and playful two steps, your eyes will feast and your blood will be pumping as you move from pairing to pairing, savoring each delectable dance and coupling. With beautifully choreographed routines coupled with exceptional lighting and incredible music, Savor After Hours goes down as smooth as summer wine.

100 days of summer are fast moving, so take a break from the heat to savor this delicetable show. Savor After Hours runs through Aug. 18 at the Broadway Playhouse, 175 E. Chestnut St. Tickets are available at www.broadwayinchicago.com.

With CAN YOU HEAR US NOW? Chicago Tap Theatre presents an original show directed by Molly Smith. CAN YOU HEAR US NOW? featured a series of original choreography from CTT dancers inspired by, referencing, and in honor of historical figures in tap dance and jazz music history from the LGBTQIA+ community. Part archival research project, part live show, this show combined tap history with the state of tap dance today, with a focus on LGBTQIA+ perspectives. The production was a celebration of queer culture and history through the eyes (and shoes) of the dancers themselves.

CAN YOU HEAR US NOW? THE QUEER TAP DANCE REVOLUTION, performed at the Edge Theatre, is Molly Smith's directorial debut, and a fine job she made of it! Each production was choreographed by a Chicago Tap Theatre (CTT) member or apprentice, including Molly herself. Her solo performance, to Lesley Gore’s You Don’t Own Me, was stunning and clearly heartfelt. She further discussed the connection she sees between tap dance and queerness.

Mark Yonally (he/him) is the founder and Artistic Director of Chicago Tap Theatre, one of the most critically well-regarded dance companies in Chicago. They perform an annual three-show season in Chicago and tour throughout both America and Europe. Their performances have been chosen as the Top Ten Dance events of the year by the Chicago Tribune, the Chicago Sun-Times, SeeChicagoDance and Windy City Media. CTT’s stated mission is to share the creativity, the history, and the pure joy of tap dance; these were clearly illustrated in CAN YOU HEAR US NOW?

The set was purposefully and effectively nearly neutral; not so the lighting! which was refashioned to enhance each piece.

The intervals between pieces were very short, which was useful for the most part. However, their duration might have been adjusted to coordinate with the mood of the dances, particularly near the end, with more emotionally charged pieces: Molly Smith’s solo, and the dance commemorating our martyrs to the AIDS epidemic. Here the rapid interruptions felt hurried and forced.

I was thoroughly captivated by the remarkable dancers and musicians brought together by Ensemble Español Spanish Dance Theater’s Artistic Director, Irma Suarez Ruiz, and Executive Director, Jorge Perez in their latest production Flamenco Passion at North Shore Center for the Performing Arts. 

The entire company of dancers were of the highest quality and training and the three 2024 guest stars, Raquel Gomez, La Lupi and Antonio Najarro proved that mature dance professionals in their prime (not just in their 20’s) can deliver dance delights that wow an audience and leave them breathless. 

Raquel Gomez was a towering vision of strength and drama in her solo piece, the world premiere of “Resilience.” Antonio Najarro turns up the steam heat with the most spectacular solo display of dance and wildly complicated castanets playing I have ever seen in the world premiere of “Flamenco Tango”.  The entire company came to life in the sexy, smokey and modern “Aries/Flamenco Tango” and company dancers Sammi Micklewright and Jonathan Pacheco shone as the sexiest, most fluid pair of lovers.

Raquel Gomez performing her work Resiliencia. 

But the night was brought to glorious fulfillment by the life changing talents of guest star La Lupi (Susana Lupiañez Pinto). La Lupi, a mature virtuoso of the art form, takes the stage with the fury of a tornado, and at times bends that fury into the grace of a bouquet of modest pink flowers bending in the wind. 

The interchange of these talented musicians on stage with the dancers was electric. Their wonderful soaring, and sometimes moaning voices, their rhythmically clapping hands and incredible guitar work was the impetus and background of La Lupi movements in particular. We were shown how live music literally creates and motivates the great flamenco dancer La Lupi the way stars in the sky affect the tides of the ocean. 

I was completely inspired by La Lupi’s amazing strength as a dancer. La Lupi’s dancing is acting, and dance combined, and the audience was able to see all of the pain and joy of life itself in her movements.  All of a woman’s life, her sex, birth, death, marriages and betrayals are clearly visible in her face and body - something that one normally only sees in a Broadway stage actor.  In La Lupi, these emotions extend to every move of her agile fingertips, every slap of her hands against her own body and every stomp of her heels - precise and exacting as knives. 

The lighting and costumes were fantastic as well throughout the show. In “Hidden Passion” for example, the female dancers appear in a smokey blue light, their beautiful faces hidden, wrapped in sheer blue material hoods, as they drape themselves around the bodies of their lovers who are dressed all in black. 

In another piece, the shawls or wraps that the female dancers traditionally wear are taken over by the male dancers and used as expressions of male sensuality and seduction in a joyous turnabout. 

I don’t often label a production as “must see” but this collection of dancers and musicians is without a doubt THE “must see” Chicago dance production of the entire 2024 season! With just a short three-day run at North Shore Center for the Performing Arts as part of the American Spanish Dance and Music Festival (June 7^th-15^th), we can only hope this production will be mounted again in the near future, perhaps at the company’s resident home at Northeastern Illinois University – so keep an eye open!

I highly recommend Ensemble Español Spanish Dance Theater’s Flamenco Passion for audiences of all ages who want to experience the true ballet of Spanish dance in its most exquisite and breathtakingly difficult expression.  

BALLET 5:8 is a female - and minority-led ballet company resident at Harris Theatre in Millenium Park. Under the leadership of co-founder, Artistic Director and Resident Choreographer Julianna Rubio Slager the company is ‘dedicated to engaging communities in conversations of life and faith through innovative storytelling and breathtaking dance’.  Last February I saw BALLET 5:8 perform Butterfly, inspired by the diary of Helga Weiss. Each dancer depicted an actual person Helga had known during her years at the Nazi concentration camp Terezin, where Jews of special prominence and talent were sent. Helga made many paintings of the camp, which Rubio Slager projected onto the background as the terrible story evolved in dance.

I’m fascinated by Julianna Rubio Slager. She’s created more than 50 works in the past dozen years, each inspired by real people, real events, real situations that Rubio Slager feels compelled to chronicle and demonstrate, often so as to build public awareness of unknown circumstances and predicaments. Me, I’m a wordsmith –I record people and events that I see in writing; thus, my brain is always sifting words, formulating sentences as I walk through my day. One need not be a writer for this of course; I imagine many people see and experience the world around them with words, or see them as photographs, etc. But I have to wonder: what must it be like inside the brain of this woman who depicts the world around her as dance? Through BALLET 5:8 Rubio Slager gives us a glimpse of just what it’s like in there, and last Saturday night she revealed the most amazing things!

LOST WOMEN OF JUAREZ was accompanied by three additional compositions, Counterpart, Wind, and The Sea is Flat, and I’ll discuss them first.

I saw the premiere performance of Counterpart last February with Butterfly, and it was just as lovely this time. A pas de deux performed by Samuel Opsal and Elizabeth Marlin, Counterpoint explores partnership and equality to the music of genre-bending string trio Time for Three. As one might expect in a dance that celebrates the thrill of equality, Wardrobe Head Lorianne Robertson’s male and female costumes were not identical but definitely like. 

Natalie Chinn and Christian English in 'Counterpart'

WIND is aptly named; dancers in flowing skirts partner with Alfonso Peduto’s music, and we can see – can feel – the leaves dancing in the spring breeze, and whipped by the furious barrage of a stormy gale. Dancers in the first and third movements included Lorianne Robertson, Caedence Sajdowitz, Savannah Stach, Jonathan Bostelman, Ellington Nichols, Rachel Walker, Alessia Braggiato, Katrina Clarke, Ford Tackett, Christian English and Samuel Opsal. In the second movement Bostelman, Tackett, and English performed a pas de trois  [I do so love all-male pas de deux and trois!).

The Sea is Flat was an incredibly evocative piece, capturing the sea’s capricious nature while simultaneously depicting its tumultuous essence to the music of Ezio Bosso. One sees chaos and tranquility juxtaposed was the male dancers portray Poseidon, while the female principals bring peace, transformation, and faith, drawing the audience as well as dancers toward serene silence. The cast included Caedence Sajdowitz, Jonathan Bostelman, Ellington Nichols, Katrina Clarke, Valerie Linsner, Sarah Clarke, Libby Dennen, Elizabeth Marlin, Melanie Rodriguez, Lezlie Gray, Sophia Snider, Natalie Chinn, Kayla Kowach, Christian English, Sam Opsal, Jenni Richards, Maggie DeGroote, and John Szwast.

OK, now to LOST WOMEN OF JUÁREZ. Julianna would definitely want me to tell you the story behind the ballet:

El Paso is a factory town, and the factories maximize profit by hiring poor Mexican women for paltry pay.  As non-citizens – and, of course, as women – they have no leverage to demand fair wages and must take any work available to feed their families. These impoverished women live in Mexico, in Ciudad Juárez, and must take public transportation through rough areas to reach El Paso.  In the borderlands between and El Paso and home women are mysteriously disappearing, their corpses later found in the desert but never fully investigated. I’m reminded of MMIW and the thousands of Indigenous Women and girls who are Missing or Murdered yet never effectively investigated. MMIW Task Force attributes these grim matters to historical trauma, racism, and sexual objectification of women … and the same applies in Juárez. The ballet employs the music of Oscar Lopez, Vico C, Antonio Garcia Isaac, Stefan, and Cortando Troncos to tell the story tenderly and with compelling urgency, as this femicide must not continue! 

Change can’t begin until there is widespread awareness of the need for change. The Transtheoretical Stages of Change model describes the process of change beginning at the precontemplation stage, in which there is not yet an awareness that a problem and a need for change even exists. Obviously, with the public at large still unaware of the femicide in Juárez, there is scant impetus for change.  

Taking the first step towards change is the same for an individual or a society: advancement from precontemplation to contemplation requires education. This is what Julianna Rubio Slager is doing with LOST WOMEN OF JUÁREZ – she is instructing the world of this issue to bring justice for the dead women, to alert other women of their peril and, most crucially, to enlighten the public that there is indeed a problem – a calamity! – that urgently needs to be changed.  And she does all this through the medium of dance. Wow.

Rubio Slager lost a family member, Yolanda Soto Rubio, to this mass murder, and Rubio Slager writes herself into the production, danced by Valerie Lisner; Elizabeth Marlin dances the part of the murdered Yolanda Soto Rubio. The dancers represent real women, the dead and the mourners: Lily Alejandra Garcia (Sarah Clarke), Luz Angelica Mena Flores (Libby Dennen), Jessica Ivone Padilla Cuellar (Melanie Rodriguez), Maria Guadalupe Perez Montes (Lezlie Gray), Gabriella Espinoza Ibarra (Jenni Richards), Esmerelda Castillo Rincon (Natalie Chinn), Ingrid Escamilla (Sophia Snider), Adriana Sarmiento Enríquez (Rachel Walker), Griselda Murua Lopez (Kayla Kowach), and Danna Jaqueline Reyes Lopez (Darissy Matias). The LOST WOMEN OF JUÁREZ trace patterns of grief across the stage, against background projections showing glimpses of Juárez and fields of crosses scattered over the desert sands. The slain women have become one with the sand, and their devastated family and friends bring grains of sand to their mouths to incorporate and embrace their lost loved ones.

Lighting, designed by Julianna Rubio Slager and Mike Goebel, was vital to every performance. Rubio Slager has a long-standing interest in stage design, evident in every piece. Lorianne Robertson designed all costumes to be eloquent while remaining as simple as possible.

BALLET 5:8 habitually follows the production with Talkback, where Rubio Slager and a selection of the dancers are available to discuss their experiences of the dances and answer questions. The dancers are gallantly open and frank about how they embody their roles and how that embodiment affects and changes them, while Julianna Rubio Slager candidly reveals her motivations and processes. In a touching coda Rubio Slager announced the promotion of Jonathan Bostelman and Lezlie Gray from Company Artists to Soloists.

A spectator remarked that the cast of LOST WOMEN OF JUÁREZ is all female, which Rubio Slager acknowledged was a conscious decision: the work is about the victims, and she has no inclination to give attention and salience to the villains. Another attender asked about the music, which Rubio Slager admitted was a complex issue – for every composition she must acquire consent to use the piece. Luckily, she adores music and listens to it constantly; if she finds a piece intriguing, she may seek proprietary rights even before knowing exactly where or how she will employ it.

The entire program is performed with intense passion and fervor, depicting ecstasy and anguish, fury and tranquility, with such intensity and authenticity that the cast undertakes but a single performance of each production. Very sad!! But I strongly recommend you join BALLET 5:8’s emailing list so you won’t miss the next production of a Julianna Rubio Slager’s masterpiece!

This year's Alvin Ailey American Dance Theater 65th-anniversary engagement at Chicago's historic Auditorium Theatre held particular importance as it marked the company's first season after Artistic Director Robert Battle's departure. Battle was only the third person to lead the company in its 65-year history, following Alvin Ailey and Judith Jamison. During this transitional period, Matthew Rushing is serving as Interim Artistic Director. Despite these changes, the program offered a dynamic evening of dance, featuring both iconic works and innovative new pieces.

The performance opened with a vibrant expression of grace, patience, and elegance in Ronald K. Brown's "Dancing Spirit."  A dancer gracefully moves through a sequence of elegant arm extensions while standing in a spotlight upstage. Soon, other dancers join in, echoing the movements with slight variations. The pulsating African-diasporic soundscape fueled the dancers, clad in tie-dyed blue and white dresses and separates. They moved with a reverent, almost ecstatic joy. "Dancing Spirit" served as a potent reminder of the company's deep connection to its African American heritage and as a homage to Artistic Director Emerita, Judith Jamison.  The exceptional cast of dancers, Hannah Alissa Richardson, Deidre Rogan, Coral Dolphin, Jacquelin Harris, Solomon Dumas, Christopher Taylor, Christopher R. Wilson, Michael Jackson Jr., and Xavier Mack brought the stage to life with their extraordinary performances.  Throughout the performance, glimpses of the opening are interwoven into the choreography, leading to a jubilant finale. The music selection, featuring compositions by Duke Ellington, Wynton Marsalis, Radiohead, and War coupled with the lighting design by Clifton Taylor provided a rich and dynamic backdrop that complemented the dancers' artistry and passion.

Alvin Ailey American Dance Theater in Kyle Abraham's Are You in Your Feelings

Kyle Abraham's "Are You in Your Feelings?" marked an emotional shift in the performance, presenting a sexually and emotionally charged piece that contrasted with the regal opening. The dancers, dressed in jewel tones of indigo, ruby, emerald, citrine, and amethyst by costumer Karen Young, explored themes of vulnerability and self-discovery, navigating the complexities of finding and losing love. Abraham's choreography emphasized nuanced gestures and emotional authenticity, with the dancers expressing a range of emotions, including longing, frustration, jealousy, contempt, same-sex and self-love. Their performances featured voguing duckwalks, fluid body waves, and other sensual movements. The narrative was supported by modern music choices, including Erykah Badu's soulful "I'll Call U Back" and Jhené Aiko's tender "While We're Young," as well as classics like The Flamingos' "I Only Have Eyes for You" and Shirley Brown’s “Woman to Woman” and contemporary tracks such as Kendrick Lamar's "LOVE”.  The featured dancers included Caroline T. Dartey, Solomon Dumas, Samantha Figgins, James Gilmer, Ashley Kaylynn Green, Michael Jackson, Jr., Renaldo Maurice, Ashley Mayeux, Corrin Rachelle Mitchell, Chalvar Monteiro, Miranda Quinn and Deidre Rogan. Ultimately, this introspective work offered a profound glimpse into the emotional complexities of the human experience.

The program culminated with the iconic "Revelations," a cornerstone of the Ailey repertoire. Divided into three sections, “Pilgrim of Sorrow”, “Take Me To The Water” and “Move, Members, Move”, each section represents different aspects and experiences in the African American Southern Baptist worship. From the prayers for salvation in “Didn’t My Lord Deliver Daniel”, the baptism in “Wade in the Water,"  and the congregate of members in “Rocka My Soul in the Bosom of Abraham “ each section resonated with emotional depth. The dancers delivered powerful performances, their bodies embodying the struggle, resilience, and spiritual fervor depicted in the music.

Ailey once said in an interview. “I’m interested in putting something on stage that will have a very wide appeal without being condescending; that will reach an audience and make it part of the dance; that will get everybody into the theater. If it’s art and entertainment—thank God, that’s what I want to be.”   

The audience erupted in a standing ovation, a testament to the enduring power of this groundbreaking work.  Ailey's choreography remains a potent portrayal of the African American experience, weaving spirituals, and gospel music into a moving journey.

While Artistic Director Robert Battle's absence will certainly be felt, the company will navigate this transitional period with grace. The program's curation, showcasing established masterpieces alongside contemporary voices, hints at the stability of the company.

Celebrating its 55th engagement at the Auditorium Theatre, the Ailey company's return held a special significance for Chicago audiences. The historic venue, with its ornate architecture and rich acoustics, provided the perfect backdrop for these powerful works. The palpable energy between dancers and audience offered a potent reminder of the transformative power of live dance and the importance of artistic expression, especially during times of transition.

As the curtain fell on "Revelations," one couldn't help but feel the joy of witnessing exceptional artistry and the hopeful anticipation of what the future holds for the Alvin Ailey American Dance Theater. This 65th anniversary program served as a poignant bridge between the company's rich legacy and the exciting possibilities that lie ahead.

Highly Recommended

When: Through Sunday

Where: Auditorium Theatre, 50 E. Ida B. Wells Drive

Running time: 2 hours, 25 minutes with two intermissions

Tickets: $40-$174 at 312-341-2300 and auditoriumtheatre.org

I’ve seen quite a lot of wonderful, entertaining dance productions in Chicago lately - creations that include music and modern dance set to the compositions of great artists like David Bowie, Sting and also beautifully staged to outstanding selections by lesser-known musicians that undoubtedly deserve more recognition. This past weekend I was able to catch a very impressive dance spectacle by MOMIX, the Washington, Connecticut based company known for their dancer-illusionists. With incredibly spot on music by a host of talented artists, MOMIX brought their interpretation of Alice in Wonderland to life for a one night only performance at Chicago’s Auditorium Theatre. ALICE, by Artistic Director Moses Pendleton, really stood out as being a tremendously alluring and engaging piece of dancing, mixed media and an ingenious presentation - a unique experience of both modern and classical music. 

MOMIX: ALICE utilizes ingenious props involving full-length mirrors held by the dancers while gazing into them, silken fabrics, which seem to breathe like they are alive and glow as the dancers writhe beneath them in stunning shapes and subtle movements, and a massive whimsical swing for Alice to glide on while set in a sunny field of wildflowers and green grass. There are twenty-foot high mechanical lifts and gowns, which propel Alice high up into other worlds set to the music of Grace Slick’s “Go Ask Alice-White Rabbit” and giant rubber balls, which are bounced in unison by the seven dancers and manipulated in such a way that is both graceful and comical. Massive blood red silken roses come to life like puppets with no visible puppeteer, ever so gently brushing back and forth against the heads and shoulders of two beautiful dancers in Act Two’s “Bed of Roses” . 

Although this production is not a child’s production of the play or film Alice in Wonderland, it is marvelously colorful for a vibrant visual experience and spectacularly graceful in its execution. I loved that the final message given during this open interpretation of Alice comes in the words “feed your head, feed your head,” which was applauded wildly by the audience.

MOMIX: ALICE is a true ensemble piece and when the faces of the dancers are covered it is difficult to tell them apart, because Pendleton has cast a very specific body type and height in order to keep all of the movements and stunts unique to MOMIX as uniform as possible, yet the quality of their dance still allows for the fierceness and sensuality of individual dancers to shine through. 

All of the dancers, regardless of their dance background or number of years dancing displayed the highest quality of dance movement, which, to me, happens when the expression of each gesture and movement extends all the way through to the fingertips - the very tips of the fingertips and toes in the most elegant and intelligent way. This type of extension and attention to detail and grace in the hands particularly gives the entire production a hypnotic and floating quality that is not often seen in modern dance.

ALICE has dark moments, humorous moments and sensual moments that take us through Alice’s personal discovery in growing as a little girl into a woman experiencing different planes of consciousness. All the while, the production never veers into the realm of clowning or erotica that might tarnish the incredible combinations of superb young dancers mixed with art worthy projections and very interesting and exciting musical choices. 

Artistic Director Moses Pendleton says it perfectly in the program, “We see Alice as an invitation to invent, to dream, to alter the way we perceive the world, to open it to new possibilities. The stage is our rabbit hole. We welcome you to drop in!”

During the after-show Q&A, which was very interesting, an audience member asked why MOMIX does not have a permanent home in Chicago like Blue Man Group. Their answer was two-fold – to bring the show to wider audiences around the world by touring, and to leave the audience begging for more. I agree that the comparison to Blue Man Group (as far as being a resident show) is right on the money. MOMIX: ALICE is full of such spectacular illusions, marvelous video projections of nature and other psychedelic artworks accompanied by the highest quality of dance, that it is worthy of having its own permanent stage and is entertaining enough to see over and over again.

I highly recommend MOMIX: ALICE when it (hopefully) returns to Chicago or any MOMIX production for that matter.