Displaying items by tag: Ballet

The Joffrey Ballet opens 2018-2019 season with the return of choreographer Christopher Wheeldon’s modern re-telling of Swan Lake to the Auditorium Theatre four years after its first premiere in Chicago in 2014.

Composed by Pyotr Ilyich Tchaikovsky in 1875-77, it was originally a ballet in two acts, named The Lake of the Swans. Choreographed by Julius Reisinger, it premiered in Moscow’s Bolshoi Theater in 1877 but was poorly received by the critics. Nearly twenty years later, the music score undergone changes by Riccardo Drigo, who added various other Tchaikovsky’s pieces to the original score for the choreographers Marius Petipa and Lev Ivanov's 1895 revival of the ballet, consequently re-named Swan Lake and performed in four acts.

Christopher Wheeldon’s masterful re-telling of Swan Lake is based on that latter version of the ballet, as well as Edgar Degas’ paintings circa 1870’s, of the Paris Opera backstage, where ballet rehearsals were often attended by the male patrons of the arts.

In Wheeldon’s version of Swan Lake, the story begins at the Paris Opera during the rehearsal for the opening night of Swan Lake. The Principal Dancer who portrays Prince Siegfried in the classical ballet gets so lost in the ballet fantasy, that his world becomes full of illusions. Fantasy is superimposed on reality until he can no longer distinguish between the two. In love with his beautiful dance partner, he’s painfully aware of the advances of the Patron who is always lurking around during the rehearsals, making unsavory proposals to ballerinas. In his mind, he turns into prince Siegfried, and finds himself at the lake, where he sees a beautiful maiden telling him that she had been cursed by an evil sorcerer to stay in swan form during the day until someone falls in love with her. He imagines that the maiden is his dance partner and the sorcerer is the patron.

The technical skills of Dylan Gutierrez as Siegfried are truly superb; his dancing is as beautiful as it is emotionally charged. Odette/Odlie’s role is danced by the magnificent Victoria Jaiani, who is floating on air, like she always does, effortlessly performing the most highly technically challenging pirouettes.

By the Second Act, the ballerinas so perfectly capture the essence of the swans, they seem to have lost their human form and become transformed into birds. This resemblance and the white costumes of ballerinas separate Siefried’s fantasy from reality in the ballet. In the Third Act, it’s back to reality: the stage comes alive with action; it’s a gala evening to celebrate the new production of Swan Lake. The fancy legwork of the cheerful Pas De Quatre (The Dance of Little Swans) does not disappoint; beautifully performed by Anne Gerberich, Jeraldine Mendoza, Edson Barbosa and Greig Matthews. Followed by the sexy Russian, Spanish, Czardas and Burlesque dances, the colorful costumes (by Jean-Marc Puissant) are in stark contrast to demure lakeside scene; this party is so much fun. Chicago Philharmonic Orchestra led by Scott Speck blends Tchaikovsky’s music with dance so perfectly that not a moment is out of sync; it’s divine.

Joffrey’s Corps de Ballet indisputably consists of world class dancers whose technical skills and ballet mastery make every performance exquisite; every one of their moves is executed with razor-like precision. Combined with brilliant Wheeldon’s choreography and gorgeous Tchaikovsky’s music, Swan Lake is a treat for the senses. In short, it is magnificent.

For more information on this beautifully executed production, visit www.joffrey.org.

Forget everything you know about A Midsummer Night's Dream. Don't recall images of the classical ballet, or lines from Shakespeare's play, and definitely don't think about how often the singular possessive noun is used incorrectly by putting the possessive on the wrong word. A Midsummer Night's Dream at the Joffrey Ballet trumps any rendition of the classic you’ve ever seen. It is a trip, and needs to be experienced in order to fully appreciate it.

The artistic direction was inspired not by the play but by the actual tradition of Midsummer, specifically celebrated in Sweden. In Sweden, Midsummer's Eve is one of the most important days of the year, rivaling Christmas with its festive spirit and traditions. Traditionally, Midsummer was celebrated on June 24, the feast day of St. John the Baptist, but the holiday has its roots in a pre-Christian solstice festival.

The play opens with a sleeping man who awakes in a dream like state to take a roll in the hay. The curtain rises revealing the Joffrey corps beating and rolling in the hay in perfect unison. They are jubilant, frolicking before an enormous sun, the entire stage and wings exposed to lend the scene a rustic, industrial feel. After cleaning up the hay, the midsummer festivities begin, there is laughter, kissing, sunbathing, dancing around a maypole, wearing crowns of wild flowers, toasting to the audience, all culminating in a Gatsby like way until they pass out, crawl, or drag each other home. Americans needs to adopt this holiday immediately. Accompanied by a haunting, ethereal vocalist, the ballet took us on a fantastic and hilarious trip.

Contrasting the first act’s dreamlike party, the second act was a trippy nightmare complete with a passionate pas de deux, dead fish, and Wild Wild Country-like expressions of raw emotion (those who've watched the documentary know what I’m talking about). The trip was a slow burn, building in intensity and complexity, leaving the audience to exclaim, “I have no idea what I just watched, but I loved it.”

Sitting behind the Swedish ambassador to the United States and her delegation, Rahm Emmanuel and his wife in attendance, and a packed house, the Joffrey's premiere of this production could not have been more well received. The swedish guests beamed and marveled at the ballet, and were the first to rise and give a standing ovation. Ashley Wheater, the ballet’s artistic director, celebrating his 10th year with the company, has created a modern festival that encapsulates the fervor and the magic of the Midsummer holiday. The jubilation is not lost in translation even though Americans do not have an equivalent holiday to reference, instead they are exposed to what seems to be the greatest holiday since Halloween. With choreography and set design by Alexander Ekman, and music by Mikael Karlsson, they've developed a piece that showcases not only the ballet dancers contemporary prowess, strength, and grace, but also gave them room to act, and laugh, and show their personalities in a way that I've never seen in any other ballet production. It's nothing short of a modern masterpiece.

There's an old Swedish proverb that says “Midsummer night is not long, but it sets many cradles to rock,” which accurately summarizes this ballet. I encourage you to let your imagination interpret the proverb, think about this when viewing this marvelous and magical production, and to lobby Rahm to adopt this holiday as Chicago’s newest summer tradition.

A Midsummer Night’s Dream plays at the Auditorium Theater through May 6th, tickets can be purchased at http://www.joffrey.org/midsummer.

As the era of streaming entertainment and sweatpants-clad binge watching continues, you have to applaud those who attend the performing arts. It’s certainly not an easier medium to consume, but some would argue it’s much more rewarding. Unfortunately, ballet and opera are struggling to attract a millennial audience. 

The Joffrey Ballet, however, opened its Modern Masters to no lack of enthusiasm. The massive Auditorium Theater was packed with audiences of all ages. Modern Masters is a four-piece show featuring the works of four different choreographers including the popular George Balanchine. Modern Masters is presented as part of the Ashley Anniversary, celebrating Ashley Wheater’s 10th season as artistic director of the Joffrey. 

They begin with Balanchine’s ‘Four Temperaments’, a visual take on the ancient belief that the body is influenced by four humors. This piece is the most traditional and lengthy of the four. The costumes and staging are sparse. Music by Paul Hindemith is soft but stirring. 

After a brief intermission, they return with Myles Thatcher’s ‘Body of Your Dreams’. The energy picks up here. With colorful 80s-flavored workout inspired costumes, 'Body of Your Dreams' is a cheeky take on fitness. It's a little ironic for a stage full of perfectly sculpted dancers to slightly criticize the "perfect body" obsession. The steps are fun, and the music is catchy. 

Next is the world premiere of Nicolas Blanc's multi-part piece 'Beyond the Shore'. This one is more similar in style to Balanchine's. The staging is as sparse, but the choreography is visually stunning. Music by Mason Bates is intricate with a cinematic scope. Think John Williams. 

The final piece is the Chicago premiere of 'Glass Pieces' by legendary choreographer Jerome Robbins. This is the piece to come for. Ballet fans of Chicago have been waiting for this one. It's well worth the hype. The set and costumes are striking. Philip Glass' music really shines in this meticulously choreographed number. The dance begins chaotic and busy but comes full circle to inspire the movement of a busy city. Bright and thrilling, 'Glass Pieces' is the strongest of the four. 

Modern Masters is a perfect evening for those looking to touch their toe into the waters of modern dance. Tread without fear of boredom for this highly engrossing show. Joffrey has a great way of being accessible to all audiences despite familiarity with the art of dance. 

Through February 18th at Joffrey Ballet. 50 E Congress Parkway. 312-386-8905

There's nothing more cloying than an evening of bad holiday theatre. Each December countless Chicago theaters put up their annual Christmas shows. Some are better than others. For a reliable standard, Joffrey Ballet's "Nutcracker" is a safe bet.

For 2016, Joffrey presents an entirely new version of the classic Tchaikovsky ballet. Conceived by English choreographer Christopher Wheeldon, this new production is sleek and tailor-made for Chicago. An interesting variation on ETA Hoffman's original Russian fairy tale. In this version, Marie is from a working class family and it's set during the construction of the Chicago World's Fair. The dance sequences in the second act are Clara's dreams of what the Columbian Exposition will hold. Wheeldon's aesthetic borrows from holiday favorites like "A Christmas Carol" and "Meet Me in St. Louis" Sets by Julian Crouch combine the classic imagery of the original and newer conventions like projections. Accompanied by the Chicago Symphony Orchestra, this "Nutcracker" is a little more grown up than the pastel versions you might remember.

The talent will be of no surprise to Joffrey regulars. Dancing the part of Marie is Amanda Assucena. Her performance portrays the lead character with a more teenage curiosity about romance. Miguel Angel Blanco dances a variation of Uncle Drosselmeyer, otherwise known as the Impresario of the Fair. It's playful and a little creepy. In the dream sequence, Christine Rocas and Fabrice Calmels turn up the heat as the Arabian Dancers. Wheeldon's choreography creates quite a spectacle and the large cast sequences are magical.

For those bored with run-of-the-mill "Nutcrackers" (a dime-a-dozen this time of year), this brand new production at The Joffrey will leave an impression. It's refreshing to see a local cultural institution take what they know works and turning it on its head. If only more of Chicago's tried and true holiday shows would take the same path, maybe we wouldn't dread them so much.

Through December 30th at Joffrey Ballet. 50 East Congress Parkway. 

There is no better way to get in the holiday spirit than with the classic Christmas ballet, the Nutcracker. Twenty-eight years after Robert Joffrey’s original production, this is the final year that the Joffrey Ballet will perform this Nutcracker (2016 brings us the world premier of Christopher Wheeldon’s Nutcracker!). Even decades since artistic director Ashley Wheater performed in the opening night of the production, this performance retains the timeless magic of this joyous holiday tradition.

For those unfamiliar, the show takes place on Christmas Eve in the 1850s, opening with a party at the house of the mayor, his wife and his two children, Clara and Fritz. In the midst of the lively party Drosselmeyer, the somewhat eccentric godfather to Clara and Fritz, sprinkles in some excitement to the festivities with enchanted life-size dolls that dance and entertain the guests. However, it is his gift of a nutcracker for Clara, which truly ignites the magic.

After the guests have left and the family has gone to bed, Clara sneaks downstairs to gaze upon her beloved Nutcracker. She soon finds herself in the middle of a battle between the Mouse King and his army of mice and the Nutcracker, who comes to life to fight with his band of toy soldiers.  With the toss of a shoe, Clara knocks down the Mouse King saving the Nutcrackers life and as means of a thank you, he takes her through the Land of Snow to the Kingdom of Sweets where the many toys from under Clara’s tree come to life in enjoyable and fantastic dances.

Joffrey’s Nutcracker downplays the traditional romance between Clara and the Nutcracker prince, fortifying the role of Drosselmeyer as the catalyst and guide of Clara’s journey to the Kingdom of Sweets. Performed by Michael Smith, Drosselmeyer is a technically strong role but at times, it felt overpowering for my taste, making the role of Clara more infantile and taking away from the romance between Clara and the Nutcracker Prince. 

Another split from tradition was the introduction of male dancers into the Land of Snow and Waltz of the Flowers scenes, however these deviations I found truly fantastic. The combination of beautiful partnering, endless falling snow and the graceful choreography expertly performed by the snowflakes (ladies) and snow winds (men) transports the audience on their mystical journey with Clara through the land of snow. In the Waltz of the Flowers in the second act, again the partnering added an interesting dimension, as did the constant tossing of fluttering flower petals beautifully worked into the choreography.

Overall, the dancers exhibited a wonderful balance of grace and precision creating flowing lines that perfectly complimented the Tchaikovsky score. The company members were fantastic, performing in perfect unison with a look of joy on their face making everything look effortless as a good ballet should. There were many young performers in the show as well who steal the scene with their cuteness! In the Kingdom of Sweets, each piece was accompanied by a tiny tot dressed in character sitting with Clara to watch the dance unfold. As someone who performed in the Nutcracker a number of times as a kid, I enjoyed this element of the show, as I am sure every aspiring ballerina in the audience did as well.

My favorite pieces by far were the Coffee from Arabia pas de deux, where Dara Holmes captivated us with her flexibility and elegant lines and the Grand Pas De Deux by the Sugar Plum Fairy and the Nutcracker Prince. Instantly entranced by the sparkle of the Sugar Plum Fairy costume, I was continually captivated as Amanda Assucena and Alberto Velasquez brilliantly performed the most iconic piece from the show.  

The Nutcracker runs at the Auditorium Theater through December 27th.  Buy your tickets now! Take your children, take your parents, take your date or take them all for a magical performance that will truly put you in the holiday spirit. 

When guests visit Chicago we want to show them the best of our city. But sometimes it's our guests that bring the best to us. That is the case for The Royal Ballet as they return to the Windy City to perform their critically acclaimed "Don Quixote" at Chicago's Auditorium Theatre. 

Chicagoans donned their best for the ballet's premiere night as though they were in the presence of royalty. There was not a single pair of jeans or flip flops present (thank you, Chicago). Perhaps it was because The Royal Ballet is Great Britain's most prestigious ballet company performing for kings and queens, as well as mere commoners, since 1931. The company has produced some of the greatest figures in ballet history to include the incredible Margot Fonteyn and Antoinette Sibley. Led by its director, Kevin O'Hare, The Royal Ballet is currently on a three city tour of the US with "Don Quixote," making stops in Chicago, New York, and Washington D.C."The Royal Ballet hasn't visited Chicago since 1978 so with this ballet, we plan to showcase the depth of the dancers' talent led by our world-class roster of principals," said O'Hare. And what a showcase it was.

Royal Ballet Prinipal Guest Artist Carlos Acosta's production of "Don Quixote" was created especially for The Royal Ballet, filled with flirtation, fun, humor, and love. The story follows the adventures of a bumbling knight Don Quixote, accompanied by his ever-faithful squire Sancho Panza, as he embarks on a quest for his dream woman. Along the way, he stumbles upon the lovers Kitri and Basilio. Kitri's father wants her to marry the wealthy Gamache, a rich, foppish nobleman. A journey ensues as the lovers try to escape those plans while Don Quixote tries to right the wrongs in the world on his quest.

The story of Don Quixote is a difficult one to bring to the stage. The Don himself is the focus of the story, but the smaller characters' stories and lives are at center stage for the majority of the ballet. The Royal Ballet's principal leads with Acosta as Basilio and Marianela Nunez as Kitri were spectacular. They were flirty and coy with one another but epitomized a ballet's pas de deux. They had grace, strength, beauty, and unity. The same could not be said for some of the other soloists and leads. Many of Kitri's friends were out of sync with one another, as well as some of the matadors. The Royal Ballet is a large company, and many acts often had thirty or more dancers on stage. When someone was slightly off or behind the music your eyes were drawn in a negative way to those people, detering from the incredible duets and soloists. Regardless of any small timing issues, Acosta, both in the production and the leading artist role, put on an impressive and magnificent ballet. From flirting flamengo dancers and dashing matadors to gypsies and dryads, "Don Quixote" is a beautiful and epic journey.

Having never seen "Don Quixote" nor read the story (forgive me literature gods), I can say that the ballet was a beautiful ballet. The sets provided the perfect backdrop to the dancers accompanied by a live orchestra. The gorgeous theatre provided the perfect stage for a magical evening. For those still not convinced that ballet can be enjoyable should make it their mission to see "Don Quixote" and right the wrongs of not experiencing this amazing art. Have the best adventure at the ballet tonight.

The Royal Ballet is concluding the Auditorium Theatre's 125th Anniversary International Dance Series performing "Don Quixote" through Sunday June 21st. Tickets ($32-$137) are on sale now and available online at AuditoriumTheatre.org or at the Auditorium Theatre Box Office (50 E Congress Pkwy).

I know about as much Russian as a non-native speaker needs. I know how to say hello and goodbye (Preevyet and Da sveedaneeya). I know how to say thank you (Spaseeba), I even know how to say my little monkey (moya malen'kaya obez'yana) though that doesn’t come in handy too often. Just today I learned the Russian word for amazing (Izumitel'nij). But in Russian and English “amazing” falls short of describing the exceptional performance of “Up & Down” by the Eifman Ballet of St. Petersburg.

“Up & Down” is a story set amidst the roaring 20’s. A young psychiatrist falls in love with one of his mental patients who, as it turns out, is a fabulously wealthy socialite. They are wed and soon he is swept up into the money-fueled glitz and glamour that made the 20’s so spectacular. He wrestles with his desire to love and cure his new wife, the enticement of the sensuous social scene, and being the honorable psychiatrist performing his life’s work. Ultimately he succumbs to the pleasures and temptations of the times and it becomes his undoing.

Audience members might liken Eifman’s “Up & Down” to Baz Luhrmann’s version of The Great Gatsby. The set was bright and sleek, art-deco inspired and neon-powered. The dancers danced the Charleston and the tango to Gershwin’s jazzy score. Everything leant itself to immersing the company and audience into the 1920's providing the perfect backdrop for Eifman’s story. As Eifman himself said of “Up & Down, “This ballet is both a tragic and bright chronicle of a person’s spiritual death—the story about how a dream of happiness turns into a disaster, and an externally beautiful and carefree life flowing to the rhythms of jazz, into a nightmare. I want audiences to feel all of the emotions of these characters and become just as immersed in the characters’ lives as the dancers are.”

Eifman is often referred to as one of the leading choreographers in the world and it is easy to see why. His style is classic yet edgy, flowing yet jagged, smooth yet striking. He doesn’t force the audience to know the difference between a jeté and a relevé. His style of storytelling is easy to follow and understand, not an ounce of pretentiousness or far reaching concepts to be found. His dancers are afforded the room to convey charm, humor, lust, pain, and even madness. Despite criticism of the American debut of “Up & Down,” I found the ballet to be captivating. This was the ballet to turn new audiences onto the ballet; the story had loonies, beer drinkers, figments of a mind manifested as an evil twin, lust and love, glamour, humor, silent movie stars, evil investors, and a twist ending. What more could you want? “Up & Down” was also the perfect ballet to celebrate the Auditorium Theatre’s 125^th year. It personified the timelessness of the ballet while pushing the art form into the modern world.

“Up & Down” might have come and gone, but should you find yourself in the same city as this St. Petersburg Ballet Company, grab and friend and say “da-vai!” Let’s go to the ballet!

"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) 

The Houston Ballet might not have shown us the world (shining, shimmering, splendid), but they did present the city of Chicago with an incredible production of “Aladdin” filled with the same sorcery, riches, splendor, magic, love, and romance as we’ve come to expect from the heartwarming tale of an impoverished young ne'er-do-well who becomes part of a whirlwind adventure.

The Houston Ballet made its debut at the Auditorium Theatre with celebrated English choreographer David Bintley's ballet "Aladdin." The ballet was originally created for the New National Ballet of Japan in Tokyo in 2008, and the Windy City was only the fourth city to experience the performance, sharing the magic carpet ride with such cities as Tokyo and London. Most people will know the story of Aladdin from the popular 1992 Disney movie of the same name. However, the Houston Ballet's "Aladdin" follows the more traditional story of Aladdin from The Book of One Thousand and One Nights (The Arabian Nights). There’s no singing genie or clever monkey named Abu, but there was no need for it in this breathtaking production.

The caliber of talent that took the stage this past weekend would leave the staunchest of critics in awe. From the background dancers to the principle dancers, everyone commanded the audience’s attention with a technique and grace that prove why the Houston Ballet is a world renowned. The moment the curtains rose, the dancers instantly transported us to old Arabia. Set against spectacular scenery created by the English designer Dick Bird and coupled with an exceptional original score by Carl Davis and performed by the Chicago Philharmonic, the audience was immediately under the spell of Aladdin’s magic.

While there were many highlights throughout the 2 ½ hour performance, one of the standouts had to be the cave of wonders. When the evil sorcerer convinces Aladdin to enter the cave and retrieve the magic oil lamp, Aladdin is met with jewels and riches beyond his imagination. The jewels onyx, pearls, gold and silver, sapphire, rubies, emeralds, and diamonds were all brought to life by dancers, making the riches literally dance before Aladdin’s eyes. The audience watched on, as mystified and entranced as the young peasant boy himself. Equally impressive were the comings and goings of the genie throughout the performance; whether he hovered in midair or vanished and appeared in a cloud of smoke, the genie entered with power and pizazz that would make Robin Williams himself proud. In one scene at the royal court, when the genie transforms Aladdin from rags to princely attire, the scene erupts into a frenzied dance with the genie, jewels, slaves, and courtesans. The high energy, fast moving dance was so synchronized you’d think one person was controlling the dozens of dancers on stage. It was graceful, powerful, magical, and was the definitive mark that this ballet is here to stay.

Who doesn’t love the story of Aladdin? It’s a rags to riches story that has stood the test of time. The Houston Ballet’s production of “Aladdin” is nothing short of spectacular. Folks young and old gave the performance a standing ovation and were captivated for the entire duration of the performance. The sheer talent and pageantry of the ballet was a welcome change to Chicago and the Auditorium Theater. I hope more shows like this breeze through the Windy City for Chicagoans to experience. So the next time “Aladdin” flies into Chicago on its magic carpet, be sure you jump on and enjoy the ride.

Contemporary dance is an art form like any other. As a style of dance it is much more of a philosophy than a strict technique like, say, traditional ballet or modern. Rather, it draws inspiration from both techniques and creates an entirely different experience for the audience. Much like art, the beauty is in the eye of the beholder. Whether you are a fan of contemporary dance or not, you should take the time away from the bitter winter cold and venture into the Auditorium Theatre to experience The Joffrey Ballet’s presentation of Contemporary Choreographers.

Like many of the contemporary showcases performed by The Joffrey, Contemporary Choreographers is split into three productions: Crossing Ashland, Continuum, and Episode 31. Let’s quickly cover off on some highlights; Episode 31, the final performance in the series choreographed by Alexander Ekman, is actually quite fun. It can adequately be described as a dramatic playground, bringing a youthful approach to dance with a touch of humor; no seriously, people were laughing along to the performances.

The second performance in the series is Continuum, choreographed by Christopher Wheeldon. This was the least entertaining performance for me; I would equate the performance as a whole as looking a blank white canvas in an art museum with a title like “Block 39.” To many, they would draw a profound and ethereal message from the blank white canvas, while others might see just a white canvas, blank and without meaning. Many of those in the audience gave Continuum a standing ovation, but to me the performance lacked a story and with it a reason to enjoy and watch it. Then again, it followed one of the best contemporary pieces I would safely say is the most enjoyable contemporary performance I’ve ever seen, so I am slightest biased.

Throughout the opening piece called Crossing Ashland, choreographed by Brock Clawson, dancers in streets clothes created the vision of pedestrians passing each other on the street, walking briskly back and forth across the stage. These stoics in street clothes turned expressive when they stripped away their outer layers of clothing and exposed the vulnerability of their inner selves. Crossing, the dancers showed us what we look like; dancing, they showed us the enormity of what we feel. The performances’ emotions were palpable to the audience and after each dancer took the stage you begged them to say longer. The dancers themselves were drop-dead, makes-you-want-to-go-workout, idol-worthy specimens, each and every muscle working to show their emotions. In lament terms, they were hot.

So what makes Crossing Ashland special? It’s the fact that the dance is so relatable, so understandable to the audience; two people pass on the street, their hands touching slightly, longingly, but then they part. So much is said in those moments without saying a word, and when two dancers portraying their emotions take the stage and perform a deeply passionate interpretation of breaking-up and making-up, you are captivated. Crossing Ashland could easily be made into a full length production and take the stage for a full two hours and no one would be bored. And more importantly, it could introduce an entirely new generation to contemporary choreography that isn’t limited to what one sees on televised dance shows or in the movies.

So cross Wabash Avenue and make your way to the Auditorium Theatre to see Contemporary Choreographers. The show runs through February 23^rd. It is a breath of fresh air to a modern style of dance that will hopefully leave you breathless.