The second collaboration between choreographer Julia Rhoads and Leslie Buxbaum Danzig, co-founder of 500 Clown, earned the creative duo another National Dance Project award. The first, from 2011 and entitled “The Better Half,” blended dance and theater in a thoughtful and funny examination of domesticity—specifically how the characters we play in our daily lives grapple with identity and dance around and with the ones closest to us. “The Queue” takes us to an airport in an exploration of the intersection between private and public spaces. Rhoads and Buxbaum Danzig again use a script as source material—in “The Better Half” it was the 1944 film “Gaslight”—starting with a mid-eighteenth-century farce about a mad scramble for an inheritance as a departure point. The movement material is inspired by farce as well: vaudeville, slapstick and choreography from film’s golden age. Read the rest of this entry »
March is an in-between time. One day we are hopefully braving forty-degree sunshine in sweaters and sunglasses, convincing ourselves of warmth. The next we’re succumbing to parkas and mittens, watching our breath trail out behind us. Spring, growth, warmth, life—it is all so close but still just beyond reach. The turning of seasons has long provided many a rich artistic metaphor. In “Drift deep, loose,” creative director of Hedwig Dances Jan Bartoszek draws her inspiration from these tensions of thawing winter. The piece will debut as part of the spring show, “Markings.”
Simple costumes not only clothe the dancers but serve as props, creating new spaces and opportunities for exploration. The piece is set to classical music interspersed with sounds of nature. The audience is seated on both sides of an uncluttered stage. Like nature herself, the tone is pure and elemental. Read the rest of this entry »
We live during the reign of tweets, selfies and Google Chat. We live in a time where ambiguous digital forces know more about the intimate details of your life than your next-door neighbor: from who friended you last night on Facebook to brand of the water filter you ordered from Amazon. Is our privacy being threatened? How do we respond? Are we even aware?
Philip Elson explores these questions of privacy and vulnerability in his debut full-length performance, “Terms and Conditions.” He describes his work as a “dance theater hybrid production.” Performers in everyday clothing dance in front of and among technological visuals to cinematic music composed largely by Elson himself. Read the rest of this entry »
The young wife and husband team of Brenna Pierson-Tucker and Christopher Tucker bring their three-year-old company and their conceptual choreography to the new Links Hall. Four short pieces by the couple touch on topics as divergent as the lives of vaudevillian peep-show performers and string theory. “Chiaroscuro” takes inspiration from works by Chicago-based artist Lauren Wilk, but ultimately seeks to use light and dark as a metaphor for internal duality. “After the Nickel Runs Out” draws a parallel between primitive motion picture kinetoscopes and the objectification of performers, and “Em-Em-Dubs” toys around with the underlying ideas behind quantum mechanics and jazz. The intent of “Translate to 2” is more a pure exploration of movement, with the introduction of physical constraints and how those constraints resonate after they’re removed. Read the rest of this entry »
By Sharon Hoyer
Julia Rhoads and her thoughtful dance theater company Lucky Plush have been on the road and in residency for the last two years, revising and rebuilding two evening-length pieces, “Cinderbox 2.0″ and “The Better Half.” Both works—one inspired by reality TV, the other by the complexities of identity and role expectations in marriage, as framed by the 1944 film “Gaslight”—will enjoy a two-week run at the new Links Hall, all leading up to the premiere of a brand-new piece in May. Rhoads spoke with me about the evolution of these works and the importance of revision.
How did the reboot of “Cinderbox 18″ come about?
“Cinderbox 18” was a big change in my process. We had finished the structure of the work pretty quickly and had three months to live inside it before showing it at the MCA. We really opened it up in terms of what was the environment, what were the relationships between the people. The work was loosely based on my preoccupation with bad reality TV at the time. Read the rest of this entry »
Thank heaven for Links Hall. The organization (now housed at the new Constellation space, formerly the Viaduct Theater on Western) provides the kind of support for new and off-Loop creative work that artists (and audiences) move to big cities for. The next big/small thing builds off Link’s LinkUp, Associate Artist and Apprentice Producer programs, giving former participants the chance to work together and take the show on the road to other Midwest cities, while bringing in guest artists to share a program here in Chicago. The first iteration will be a split bill between Chicago’s Synapse Arts Collective, driven by choreographer Rachel Damon, and a partnership between Minneapolis-based choreographer Penelope Freeh and composer Jocelyn Hagen. Read the rest of this entry »
The Dance Center of Columbia College partners with Links Hall for this celebration of cutting-edge, unscripted dance. Artists from across the country gather to perform, teach workshops and lead discussions throughout the week. A showcase Monday night at Links kicks things off, followed by a week of cross-disciplinary workshops at the Dance Center. Workshops delve into Contact Improv, using improvisation as a warm-up tool for artistic production, the creating of scores from systems found in life and a two-day class that begins with developing a solo practice and progresses into ensemble work. Read the rest of this entry »
By Sharon Hoyer
Since the advent of the nuclear family and the relegation of our nation’s elderly to nursing homes, we rarely see multiple generations in the same room, much less on the same stage. In “We Hope, Conspire,” Annie Rudnik engages a primarily invisible population. The conspirators: a combined ensemble of non-professional dancers ranging in age from seventeen to late-thirties and residents of Norwood Crossing senior assisted-living home. Performances span three weekends: the last two at Norwood Crossing and this upcoming weekend at the new Links Hall. The change of venue will surely affect the feel of the show, but Rudnik has, without a doubt, created a piece unlike anything you’ve seen. One performer said that being on stage and being in the audience are exactly the same experience. And that experience is tremendously tender, authentic and humane. Rudnik talked about the piece before last Sunday’s performance. Read the rest of this entry »
Core Project Chicago, a multidisciplinary performance and arts outreach collective, teams with Links Hall to present three evenings of dance work by female artists. The presentation is the first by the Core Project folks as part of an apprentice producer program sponsored by Links.
Apprentice Producer Maria Parise has put together a program of short works not only by Core Project choreographers, but some of their regular collaborators as well, including a premiere by Same Planet Different World artistic director Joanna Rosenthal and a multimedia piece by Chicago Danztheatre Ensemble director Ellyzabeth Adler. Read the rest of this entry »
By Sharon Hoyer
“In this day of YouTube and mediated ways of having engagement and interaction, I feel it’s very important to have human-to-human direct experience in the same space,” says Nicole LeGette, founder of blushing poppy productions. “There’s something that situation enables that’s not possible through a mediated technology. That’s one thing with my performance work—it works a lot with energy and with how to activate the imagination and the invisible space. Those things are very difficult to translate in video. It’s about the live, shared experience between performer and audience in a very visceral and I think very human way.” Read the rest of this entry »