Displaying items by tag: Little Mortal Jump

Walking into the Harris Theater for the Hubbard Street Dance Summer Series, it is snowing on stage. Not real snow, of course, but feathers slowly fall, coating the stage with what resembles a light dusting of frost that we Chicagoans are so familiar with. The theater is filled with chatter as people are taking their seats, and as the feathers begin to slow, the theater becomes silent. And with a single feather that floats to the stage, the lights dim and the curtain rises.

Large black walls on wheels are the only stage props during the opening ballet Extremely Close.  The dancers push, pull, and move the walls while they dance, disappearing and reappearing behind them as they do so. During the first half of the ballet, the dancers are slightly out of sync. At times they would come together seamlessly, and other moments struggled to dance as one.

A pas de deux have an emotional exchange toward the end of Extremely Close. The couple continuously go back and fourth between passionate embraces and cold exchanges. It is only at the end, when the black sheet is pulled over the woman’s limp body that you wonder about the deep undertones of abuse.

The second act, Still in Motion, opens to the stage set as a white wave with a blue neon light at its crest. About a dozen dancers, ready to begin, frantically run off stage before the music starts, only to leave only one solo male dancer. There are times throughout the performance, as groups enter and leave the stage, where the music stops, but the dance continues. Showcasing pure movement, with only the sound of feet to the floor, is as intriguing as it is uncomfortable. The dancers are perfectly in time during the moments of silence, which makes it that much more mesmerizing.

The third, and by far most impressive ballet, Little Mortal Jump, starts with a French couple and their love story. The music is happy and light, the dancing uplifting and spirited. You almost don’t notice the change in tone as the narrative fades away, and the large black walls from the first act make their way back on stage. The classical music and passion on stage overwhelms. At one point, as the lighting becomes orange and hot, the dancers begin to move in slow motion, so controlled and smooth, you almost don’t notice this is happening right away. The moving walls once again let people appear and disappear as if out of nowhere, and make this piece hypnotizing. As the music, lighting, and dancing all come to a crescendo, and everyone is waiting for one last fouette or grand leap, the lights cut, and the audience, after taking a breath to gather what just happened, explodes into applause.  

Alejandro Cerrudo has proven himself as an amazing choreographer with this series. Cerrudo's background as a dancer only contributes to his understanding of stage presence and movement. The lighting by Michael Korsch should also be recognized in how it manipulates the emotion and power of this performance, as well.  Summer Series is an exciting must see this season.  For upcoming Hubbard Street Dance events, visit http://www.hubbardstreetdance.com/.