Displaying items by tag: Kyle Abraham

There are no words.

Well, obviously that’s not true cos I’m about to say a whole bunch of words – they can pretty much all be found in the thesaurus under glorious, magnificent, gorgeous … you get the idea. The only bad news is that it’s a short run, just May 17-19, but don’t despair: HUBBARD STREET DANCE is Chicago-based, and they’ll be back. Get on their email list so you can get tickets to their next show. Pricey? maybe. Value for the money? inestimable!

I’m unabashedly biased: I’ve been watching and loving HUBBARD STREET DANCE for almost forty of their forty-six years, but despite that familiarity, OF JOY blew my socks clean off. OF JOY is the third and final series in HUBBARD STREET DANCE’s 2023/24 Season: OF ABUNDANCE. The 47^th season will kick off in November, so start watching your inbox in October.

The program included four pieces with two intermissions. The dances made the need for the intermissions clear: the company needed to recuperate, recover, regain, rehydrate, rebound, and rally. OMG the amount of pure energy expended!

First was Echoes of Our Ancestors, choreographed by the world-renowned Maria Torres and danced by the entire company to music by Philip Hamilton. Its narrative choreography connected with the traditional Caribbean Latino rhythms, and Luis Razo’s costumes used the brilliant colors characteristic of Afro-Latino culture, with enormously wide skirts that became wings and striped shawls swept with the rhythms. One dancer described Echoes of Our Ancestors as ‘a melting pot’, and Torres agreed that she intended the work to form a bond between Afro-Latino and other cultures. The dance was a whirling turbulence with dancers all over the stage – I’d like to watch it several more times to catch the action in other realms of the stage.

After intermission the show resumed with a solo, Show Pony, danced on the night I attended (5/18/24) by Cyrie Topete (she/they) [on other nights the dancers were Alysia Johnson (Alysia/she/her) and Aaron Choate (they/them)]. Kyle Abraham choreographed, and Fritz Masten costumed Topete in a full leotard of gleaming gold, which took on other tones under Dan Scully’s lighting. Cyrie says she danced Show Pony with “spontaneous and playful choices … I feel powerful and confident, and I feel safe to roar!” – all of which was wholeheartedly evident in her dancing. The music, Hatshepsut, was written and performed by Jlin and was equally spontaneous and playful. The music and choreography were truly one, not simply complementary but reciprocal, interchangeable.

A Duo was choreographed by Resident Artist Aszure Barton (she/her), working with dancers Abdiel Figueroa Reyes (he/they) and Aaron Choate (they/them). I adore M/M pas de deux, and I believe it was subtly enhanced by both dancers being nonbinary. Another augmentation was the collaborative choreography: Barton continually evolved it in response to each dancer’s strengths and virtuosity, as well as the chemistry between the dancers, which was palpable. Choate says Barton’s work is so difficult that performing it gives a dancer fresh insight into their capacity and potential. Two words used in reference to A Duo were curiosity and playfulness. Yup, two in a row, Show Pony and A Duo, with ‘playful’ intrinsic to the choreography and performance. The music was amazing as well: “Miu” and “Shaolin Mantis” composed, produced, and recorded by Maria Herlop. Performing on electric bass was Oscar Garrobe; Mix James Ginzburg and Marina Herlop. I needed the intermission myself to get my breath back after this!

The final selection was Impasse, choreographed by Swedish Johan Inger, who also did the Scenic Design, with Fernando Hernando Magadan as Stager. This was a complex piece, very energetic, with fourteen dancers:  Alexandria Best (she/her), Jacqueline Burnett (she/her), Michelle Dooley (she/her), Aaron Choate (they/them), Elliot Hammans (he/him), Jack Henderson (he/him), Alysia Johnson (she/her), Shota Miyoshi (he/him), David Schultz (he/him), Matt Wenckowski (he/him), Simone Stevens (she/her), Cyrie Topete (she/they), and Craig D. Black Jr (he/they; also Rehearsal Director).

It was astonishing to witness some of the incredible contortions a human body can tangle itself into! Dancers reported being initially dubious about some of the choreography, not completely sure a human body could do that … but it could, and they did! The erstwhile impossible configurations were achieved, then passed into muscle memory and were embraced. Aggregates of dancers formed patterns and enactments, working together to weave storylines then unravelling into new compositions. The music included Diagnostic by Ibrahim Maalouf, distributed by Harmonia Mundi – Lily (is 2), Will Soon be a Woman, Maeva in the Wonderland, Your Soul, and Never Serious. Original composition by Amos Ben-Tai.

I have only one criticism: the volume of the music. It was excessive for me, even with my rock band-hardened eardrums. My companion has sensory processing issues and was at times in pain, even with their fingers in their ears. The music was gorgeous, all of it, and absolutely perfect with the choreography, but it was almost too loud to hear – kind of like being too tired to sleep y’know? Neither are pleasant.

I wish I could tell you to see HUBBARD STREET DANCE perform OF JOY, but the run is over … was over before I had this review written. But some individual dances will be repeated, and additional ones performed, in the 47^th season. And just think: the 2027/28 season will be HUBBARD STREET DANCE’s 50^th, so there’s bound to be an extravaganza of dance that year!

VERY HIGHLY RECOMMENDED

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