Displaying items by tag: Dance

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 15^th 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 15^th 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 18^th and 19^th.  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!

Tw@birunjibaby

"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 15^th. 

*photo - Lilac Garden: #362 (Victoria Jaiani) 

There is just something about the ballet; the people watching (it’s a very entertaining crowd), the glass of bubbly before the show starts, the curtain rising, the live orchestra playing, and of course the ballet dancers that make the most difficult of feats seem effortless. Unfortunately, like previous performances I’ve seen at the Joffrey, the most recent performance of “Othello” left me wanting more.

Once again, Joffrey loyalists will roll their eyes when I tell them I was disappointed by the “Othello” performance. This was a completely original ballet based off of a great Shakespearean tragedy and it should have been amazing. The short teaser trailer of the performance on the Joffrey’s website was dramatic and foreboding. On the other hand, as the show began, I knew immediately that I would be left wanting. Let me first say that the dancing was beautiful. The main dancers, Othello played by Fabrice Calmels and Desdemona played by April Daly, were graceful, strong, and fluid, and exactly what you’d expect in the principal dancers. Sadly, great dancers can only do so much with what they are given, and I don’t think they were learnt much in the ways of choreography and music. The music alone was enough to make someone dislike the show. Imagine an entire 2 hour performance with drums and strings building and building and taking forever to reach a crescendo and when it does nothing happens on stage to match the power behind those notes. I equate it to sitting in a scary movie, the music building your expectations to a state of uncontrollable suspense, just waiting for the killer to jump out and attack, only to have the loud crash usually tied to a scary moment to be someone yawning on screen. What a letdown, right?

Also, the choreography was a bit too in-your-face-foreshadowing of the tumultuous and ultimately grim lover’s tale. If you went through high school and college never having read Othello or seeing the movie O, then perhaps the references weren’t so easy to pick up on, but for those of us who know the story it was about as blunt as an axe to the head. At times the duets between Othello and Desdemona just consisted of him lifting her and tossing her around like a gracefully beautiful sack of potatoes, his hands and arms lingering around her neck for an awkwardly long time. Outside of those dancers, the solos of Cassio and Iago, played by Aaron Rogers and Matthew Adamcyzk respectfully, were beautiful, but the jealousy that eventually drives Iago to his dastardly acts was so jagged and rough that it took away from the grace of a great dancer. The character of Iago seethes with jealousy, hatred, and envy but it didn’t translate as powerfully as it could have in the dancing and he ended up looking like a petulant child. All in all, the entire ballet performance was lukewarm for such a heated storyline.

So why go back? Why keep going to the ballet if I’m not going to enjoy it? It’s because I believe in this art and want to be blown away each and every time. Some of the dance companies in Chicago without nearly the endowment the Joffrey has, have left me speechless and simply blown away by their performances. I suppose I just expect the same from a company with such amazing talent as the Joffrey. So I will still go, and still hope for a performance that takes my breath away and leaves me saying ‘O.’

I’ve never been to Havana, Cuba. I never even saw Dirty Dancing: Havana Nights. But after seeing the world premiere of River North Dance Chicago and the Chicago Jazz Philharmonic’s performance of “Havana Blue,” Havana is definitely a place that I would hop on a plane and visit in a heartbeat. I am of course basing this decision entirely upon the hope that everyone breaks out into expertly choreographed dances to express emotions and feelings for the city they reside in. Regardless, the premiere of “Havana Blue” was a wonderful and entertaining surprise.

“Havana Blue” was created and collaborated on by choreographer Frank Chaves and jazz trumpeter Orbert Davis. They traveled the streets of Cuba, immersing themselves into the culture, the nightlife, exploring the country’s musical routes. What they came back with was a beautiful ensemble that celebrates the life and exuberance that is Havana.

Entering the theater and the show, I was far from the most knowledgeable about Jazz or Cuban life and culture. Jazz lovers and dance lovers alike flocked to see “Havana Blue” to make it a nearly sold-out performance, a feat I had never seen at the Auditorium Theater. The crowd was energetic and lively, freely swaying back and forth to the music and even jumping up in the aisles to dance. Everyone in the audience, including my friend who accompanied me, knew when Orbert Davis said ‘Dizzy,’ knew to respond with ‘Gillespie.’ But I soon discovered, when the curtain went up and the music started to play, I didn’t need to know a great deal about the show, or jazz history, to appreciate the art forms performing in front of me.

The curtains rose to reveal a brass jazz band, the brass twinkling under the bright stage lights, set against a dark brick wall. It was an impressive sight, and just as visually stunning as the gorgeous dance pairs of River North Dance Chicago that opened the show, the women in flowing blue dresses, the men in sexy-tight pants and open shirts, muy caliente.

“Havana Blue” is comprised of a several sultry and powerful dance segments, each representing a mood that you could find in the life-pulse of the Cuban city. One of the more notable dances was “Solteras" ("Single Ladies"), which many found to be a sad(ish) dance in which one woman was not being coupled up to dance with male partners. But the solo woman did not dance with a dejected rhythm but a “que sera sera” style, retaining a sexiness and comfortableness with dancing alone. Indeed, the women shifted partners, each woman getting a chance to dance solo while the couples danced around them. As the “Solteras” danced, there were smiles on their faces, not longing. I viewed the dance as empowerment for women, not romantic yearning because they weren’t coupled up. The women danced in spite of not having a partner and danced beautifully and strong, not slumped and saddened. (Cue female empowerment music: 'All the solteras, all the solteras,' kidding). Shortly after that performance was another notable dance segment "Lo Masculino" ("The Masculine"). To sum up the performance in one word: steamy. The males of River North Dance Chicago performed shirtless to a powerhouse number filled with masculinity, sweaty six-pack abs, and moves that would have made Baryshnikov proud. It was the perfect blend of power and rhythm that really made "Havana Blue" pop and sizzle.

“Havana Blue” completely embodied the sensual, powerful, and allure of the Havana culture. The artistic direction of Frank Chaves with River North Dance Chicago and the artistic direction of Orbert Davis was a match made in the streets of Havana. These two men created a show that will surely be enjoyed for years to come. Should you see “Havana Blue” coming to a city near you, or to our very own Chicago again, be sure to samba your way to see this show, you will not be decepcionado.