“Unique Voices,” at the Auditorium Theatre, adds three strong contemporary pieces to the Joffrey rep in a program that strikes a gratifying balance between classicism and risk. The curtain opens on Stanton Welch’s “Maninyas”—a small ensemble piece that moves from strong, sculptural shapes to whirling abandon as it traces the path of growing emotional intimacy. The second section features a series of challenging lifts that hover in the protracted silence between chords in Ross Edwards’ “Maninyas Concerto for Violin and Orchestra.” Lighting by Lisa Pinkham ripples over the women’s ankle-length dresses and massive “veils” hanging upstage. The fabrics in both costume and set are active characters in Welch’s piece. As dancers burst into dervish spins and restless pony steps in the third movement, shafts of light descend on them from above and the veils fall. Read the rest of this entry »
The steady expansion of the performing arts in Chicago continues its marvelous pace, with more and better theater, dance, comedy and opera gracing more and better stages each passing year. The upward progression is so steady that epic undertakings—a new campus at Steppenwolf, a bigger chunk of Navy Pier for Chicago Shakes—seem almost business as usual these days. And that is a marvelous thing. This year we again celebrate the lesser-sung heroes offstage who deal with the less glamorous things like building those new stages, and paying those expanding payrolls without which the stars would have nowhere to shine.
Tragedy has been central to theater since the ancient Greeks first staged it, but the last year has brought a disproportionate volume of real-life tragedy to our community. No doubt, the expanding and maturing performing arts universe means that more members of its community will pass on each year, but the number of those struck down long before their expected hour was overwhelming these last twelve months and struck every corner of performing arts, from theater, to dance, to comedy, to opera. Molly Glynn, Jason Chin, Eric Eatherly, Bernie Yvon, Johan Engels, Julia Neary—and others we’ve unintentionally overlooked—we dim our collective marquee for you. (Brian Hieggelke)
Players was written by Zach Freeman and Sharon Hoyer
With additional contributions by Brian Hieggelke, Alex Huntsberger, Aaron Hunt, Hugh Iglarsh and Loy Webb
All photos by Joe Mazza/Brave-Lux, taken on location at Steppenwolf Theatre, Goodman Theatre, Lyric Opera of Chicago and Brave-Lux Studio Read the rest of this entry »
The Joffrey presents five programs throughout their season, showing works by about a dozen leading choreographers of past and present, but there’s one show that keeps the lights on: twenty-four performances of “The Nutcracker” account for the bulk of Joffrey ticket sales, pulling non-regular dance attendees (and their visitors) into the Auditorium Theatre for a holiday tradition and, in many ways, helping to fund the rest of programming. Robert Joffrey’s vision of the Christmastime confection is a shimmering spectacle, heightened by the additions of the two-story Mother Ginger puppet by Kermit Love and an ensemble of more than one-hundred young dancers. Read the rest of this entry »
To whet audience appetites for the fall season, the Joffrey presents a special one-weekend amuse of short narrative ballets. Two pieces are from the Joffrey rep: Antony Tudor’s 1936 “Lilac Garden,” a moonlit tale of quiet longing set in the Edwardian era, and George Balanchine’s take on the parable of the Prodigal Son, set to the music of Prokofiev. The company will also premiere “RAkU,” by San Francisco Ballet’s resident choreographer Yuri Possokhov, and inspired by the true story of a Buddhist monk who burned down the Kyoto Temple of the Golden Pavilion. Read the rest of this entry »
In the early nineties, a dancer with the Joseph Holmes Dance Theatre named Keith Elliott was, like many artists of the time, losing friends and colleagues to complications caused by HIV/AIDS. “If you knew Keith, he was the kind of person who couldn’t just not do anything about it,” said Anthony Guerrero, the current producer of Dance For Life. “He was a dancer—he didn’t have money—but he could put on a show.” Elliott invited Chicago’s dance community to participate in a fundraiser performance to fight HIV/AIDS and support artists in need. Four companies immediately got involved: the Joffrey Ballet, Hubbard Street, Giordano Dance and River North Dance, who have remained the partnering companies to this day. The first performance was held in 1992 to a sold-out house. Since then, Dance For Life has raised millions of dollars for HIV/AIDS prevention, care and education. Proceeds also go to The Dancers’ Fund, an emergency fund extended artists, administrators, rehearsal pianists, anyone in the dance profession struggling with life-threatening or debilitating illness. The Dancers’ Fund goes beyond medical treatment, covering rent, utilities, food. Last year’s Dance For Life raised more than $200,000 alone. Read the rest of this entry »
Placing Shakespeare’s plays in different historical contexts is a longstanding tradition for theater companies and filmmakers: modern dress and settings are used to both illustrate universality of themes and to make Elizabethan language a little less intimidating to contemporary audiences. Krzysztof Pastor, director of the Polish National Ballet, places the tale of the ill-fated young lovers across not one, but three time periods. In the case of ballet, iambic pentameter is no barrier to comprehension; Pastor uses moments in twentieth-century Europe to illustrate the power of politics to destroy individual lives. As in Shakespeare’s play, the setting is Italy: Act I takes place in the 1930s, at the rise of Mussolini. Act II travels forward in time to the 1950s and the violent turmoil incited by the Red Brigades. The final act takes us to Berlusconi’s Italy, a place of increasing wealth disparity and social unrest. Read the rest of this entry »
The Joffrey dancers are posed with new challenges this winter as the company presents a program of all twenty-first-century works, including a piece by a Chicagoan for the first time in a decade. Brock Clawson is an ex-Thodos dancer-turned-choreographer who has created work for Giordano Dance, the Eisenhower Dance Ensemble in Detroit and the Houston Metropolitan Dance Company. Last year he created a commission for the Milwaukee Ballet entitled “Crossing Ashland.” The piece caught the attention of Ashley Wheater, the Joffrey’s artistic director, and now the company’s at work on Clawson’s choreography, which is as informed by modern and contemporary vocabularies as it is by ballet. “Crossing Ashland” is a tender look at human connection and vulnerability; it spans the space from earth to sky, considering both the ground that claims us and the heavens we reach for. Dancers in street clothes walk, run, embrace behind other dancers in minimal costumes, who create visual amplification of our internal worlds. Read the rest of this entry »
The first images that spring to mind with The Nutcracker Ballet are usually lavish costumes, plentiful fake, glittering snow and a rousing sword fight between a wooden toy and a giant mouse—not necessarily explosive leaps or masterful ensemble staging. And, with well over 100 youth dancers, singers from five different children’s choirs, a massive tree and a two-story Mother Ginger puppet, the Joffrey Ballet’s version of the holiday classic doesn’t disappoint for razzle-dazzle. But despite the parade of lavish sets and spectacular on-stage snowfalls, the real centerpiece of Robert Joffrey and Gerald Arpino’s most-staged ballet is the dancing. Read the rest of this entry »
By Zach Freeman
As any denizen of the theater who’s been in this town for any amount of time knows, Chicago DOES theater. With more than 250 active theater companies and a constantly growing number of venues, if you can’t find a good show to attend on any given night, you’re just doing it wrong. And this holiday season Chicago is really throwing down the gauntlet of performance options with more than forty (yes, you read that right) holiday shows. And yes, almost all of them are Christmas-related. In fact, there are almost a dozen versions of “A Christmas Carol” alone.
But Chicago is a diverse city and our theater companies reflect that. We’re not talking about several dozen versions of the same old stuff, we’re talking about more than forty completely different takes on the holiday season. It’s a lot for any one person to take in, so we thought we’d help you determine which show (or shows) you should be seeing over the next month or so to get yourself into the appropriate holiday mood (whatever that means for you).
We can’t list them all, but here are twenty to get you started. Here we go… Read the rest of this entry »
The Joffrey calls upon all their considerable resources to stage massive, demanding works by three Russian greats. The centerpiece of the evening is the company’s authoritative reconstruction of Nijinsky’s legendary, riot-inducing “Le Sacre du Printemps,” which still feels absolutely raw and primal even 100 years after its premiere. The rest of the program holds strong with Balanchine’s “Allegro Brillante”—a sweeping full-company piece featuring bearishly difficult solo sections for the principal ballerina—and two works by Yuri Possokhov. “Bells” is a gorgeous half-hour work set to seven Rachmaninoff compositions that move sweetly through moods and images, and a real treat will be Possokhov’s duet “Adagio,” created expressly for the Joffrey’s remarkable husband and wife team Temur Suluashvili and Victoria Jaiani. Read the rest of this entry »