Those who say punk rock is dead have been spending too much time at the Wicker Park Urban Outfitters and not enough time right down the street at the Flatiron Arts Building, where the spirit of ’77 is alive and well. Flatiron is the temporary home of The Inconvenience, an interdisciplinary company that takes all the pretension out of the term “interdisciplinary.”
The Inconvenience kicks off their promising 2015 season with a dynamic evening of dance billed simply as “The Salts.” As a collaboration between Erin Kilmurray (who also performs) and Molly Brennan, the performance’s reference points are intentionally iconic: Iggy Pop, Velvet Underground, Patti Smith, Talking Heads. Yet the take is refreshingly modern, with frenetic choreography broken up by humorous interjections and politically charged vignettes. The routines themselves celebrate the spirit of punk: loose yet taut, zealous yet highly accessible. Read the rest of this entry »
Photo: Eileen Ryan
To create a concert celebrating the thirtieth anniversary of Hedwig Dances, founder and artistic director Jan Bartoszek turned to her earliest works. “I think I’ve grown as a choreographer over the years,” Bartoszek says, “but the reasons I wanted to make dance are in these works—ideas about dependence and independence—things I was grappling with in my life. I feel fortunate that I’ve been doing this long enough to look back.” The title piece of the show weaves together reworked excerpts from Bartoszek’s early pieces based in social dance—waltz, polka and tango—in a dialogue about human relationships. The waltz section is a reflection on courtship, and has text taken from a 1950s manual on social dance etiquette. The tango represents fierce independence, dancers who pivot around each other’s axes, but share little weight. And the polka…” One of my earliest memories of dance was of the polka. I grew up in a small rural community; that’s what people did at church and social gatherings.” For Bartoszek, a unifying thread runs from her earliest memories of dance through thirty years of work with her Chicago-based modern company. “Works are connected by the ideas of an author,” she said. “All things I’ve done are essentially one grand dance.” Read the rest of this entry »
The Chicago Human Rhythm Project is a cultural magnet; the organization pulls percussive and folkloric dancers—along with a good number of drummers—from around the world to collaborate, teach and perform in big celebratory events, like the annual Global Rhythms Festival at the MCA. Lane Alexander, the visionary founder of CHRP, has dedicated a career to the idea that art can unify people across lines of difference, and that rhythmic dance, like traditional food and music, is something all cultures share. “Percussive and sacred dance goes back ten thousand years,” he says. “And four thousand to ten thousand years ago, people who stomped on the ground were shamans and leaders. We might see these people take that place as leaders in our community, toward peaceful reconciliation.” Read the rest of this entry »
If one had to select the work of a single twentieth-century playwright for translation from spoken language to dance, Tennessee Williams would likely top the list. Brooding, swaggering brutes, swooning waifs, sweltering, grimy back alleys: Williams’ plays seethe with a physicality that draws its characters’ inner life into a world of flesh and sweat. Scottish Ballet, the national ballet company of Scotland, commissioned theater and film director Nancy Meckler and the brilliant choreographer Annabelle Lopez Ochoa as equal collaborators on an evening-length dance interpretation of “Streetcar” that comes to the Harris this May. Dancers learned characterization first and choreography second, building movement from deeply studied motivation. Read the rest of this entry »
Independent choreographer Peter Carpenter teams with Margi Cole and her company The Dance COLEctive to write the fourteenth chapter in his ongoing dance serial that puts a critical and compassionate magnifying glass to the social constructs and political systems that move our lives. “Curious Reinventions” looks at mimicry: how we use it to construct our identities, the power of parody, how imitation can disrupt the status quo. Read the rest of this entry »
Photo: Cheryl Mann
Soft-spoken and self-effacing, Nicolas Blanc sits in a folding chair in a sunny studio room of the Joffrey tower, gently cueing the entrances and changes for five dancers in his short ballet entitled “Evenfall,” uttering the occasional, supportive “good” or “nice” for a well-landed movement. Ballet Master for the Joffrey since 2011, Blanc is about to add his own choreography to the company repertory for the first time, which appears in a “New Works” program alongside household name Christopher Wheeldon and rising-star resident choreographer of the New York City Ballet Justin Peck.
“I’ve wanted to choreograph a long time…since I was a child,” Blanc said. “And I think there are parallels with being a Ballet Master. That parallel is about how you move people in a room; you’re a bit like a conductor. I’ve been in charge of so many choreographers’ work—Nijinsky’s ‘Rite of Spring’ was on my shoulders, I recently reset ‘Incantations’—and that helps me; their work informs me about their creative process. I’m learning from what has come before. I’m in the process of creating my own language.” Read the rest of this entry »
We usually have to wait till June and bus, bike or train down to the Loop to see great free performances but, thanks to the Chicago Human Rhythm Project—that mighty advocate of the original musical instrument—festival season starts early this year. And it’s coming to you. CHRP tours the neighborhoods this month with a series of free performances by hometown companies that celebrate five different heritages: Trinity Irish Dance Company, Mexican Dance Ensemble, Ensemble Español Spanish Dance Theatre, Muntu Dance Theatre and CHRP’s resident tap company BAM!. Two companies host each show, with cameo appearances by the other three. The series kicks off with a panel discussion with the artistic directors of the five companies at the Cultural Center, moderated by Audience Architects—the dance promotion organization that recently dubbed April Chicago Dance Month. Read the rest of this entry »
Hanna Brictson grew up in River North Dance Chicago, first as a student, starting at the age of twelve, then as a company member straight out of high school, eventually working her way up to rehearsal assistant. This week, the Elgin native and Princess Grace Award nominee makes her choreographic debut with the company, which premieres as part of the Auditorium Theatre’s “Made in Chicago” series, in honor of its 125th anniversary season.
Many dancers move from company to company. What has kept you at River North?
There has always been a build happening. It’s never been stagnant on the artistic side. As a dancer you’re always searching for a challenge; [artistic director] Frank Chaves is always bringing in new choreographers and challenging the dancers in new ways. There’s also the jazz style, which we’re now getting away from with contemporary work, but it will always be our foundation. Jazz is my background so the environment is comfortable and still challenging.
Tell me a little about your new work, “Beast.”
The piece is danced by all the women in the company. I’m also dancing in it which is a challenge in and of itself. It’s based around my life experiences that have pushed me to have the personality I have. It’s about pushing the limits of what we think we can do. We all believe we can handle only so much; it’s about pushing beyond the walls we set up for ourselves. When we break through these walls, we sometimes discover the alter ego we have as females, our inner beast.
Is there anything else you’d like to add?
Just that to choreograph on friends has been the most special opportunity, because I know these people inside and out. Which is what River North is all about; we’re a family. (Sharon Hoyer)
At the Auditorium Theatre, 50 East Congress, (800)982-2787. Saturday, March 28 at 7:30pm.
Photo: S. Bertrand
By Zach Freeman
There are very few theatrical venues in the world that can boast anything like the history, cachet and all-around tourist-centric sexiness of Moulin Rouge, now celebrating its 125th (!) anniversary. With that in mind my wife and I made our way to the iconic red windmill at the intersection of Rue Lepic and Boulevard de Clichy in the Montmarte district a few weeks ago, expanding our trip to Paris to include the latest offering from “the most famous cabaret in the world.”
Entitled simply “Féerie” (Fairy), it turns out that this production—which has been running since the end of 1999—is every bit as flashy, ephemeral, evocative and simple as the name implies. For clarity’s sake I should add that by “simple” I just mean “nearly plotless”—with 1,000 costumes, eighty dancers, six horses and five pythons (yes, you read those last two correctly)—this show is anything but simple in the technical sense. But more on that in a bit.
Entering the historical eighteenth arrondissement theater through a throng of camera-toting tourists and fellow attendees is a theatrical experience in itself. The bright red carpet and brighter lights successfully immerse you as you check in and are guided to your table. (With 900 seats, it’s no surprise that they don’t trust you to find your way alone.) The space is set up like a massive, two-story restaurant, allowing for customers booking 7pm tickets to eat dinner before the 9pm show. Since we opted for the 9pm show, we arrived at our table post-dinner and were promptly greeted with glasses of champagne. Read the rest of this entry »
Photo: Rick McCullough
Jawole Willa Jo Zollar, inspired by her upbringing in an African-American neighborhood of Kansas City, founded her all-female company to give voice to the disenfranchised, particularly women of the African Diaspora. Urban Bush Women now marks thirty years of impassioned dance making for social change and comes to the Dance Center of Columbia College as part of the celebration. Two pieces are on the program: Zollar’s “Hep Hep Sweet Sweet,” a personal memoir and homage to music and culture of her youth. We’re taken to Kansas City via song, and welcomed into a nightclub scene swinging with jazz and blues—right after the narrative voice tells us that her reflections are “part truth, part memory, part rumor, part nostalgia and part myth.” Read the rest of this entry »