Early on in the ingenious collaboration between Second City and Hubbard Street Dance, Procol Harum's counterculture hymn permeates Chicago's Harris Theater as actors and dancers assemble in rows of folding chairs facing the audience.
The Joffrey Ballet's extraordinary mixed bill, Stories in Motion, exploded onstage at the Auditorium Theatre in Chicago this past weekend: three ballets that trace a timeline of the infiltration of Modernism in ballet.
In 2015, DRDT returns to JOMBA! to perform a collaborative work with Flatfoot that signifies a culmination of the exchange. However, it might be said that the meat of this initiative is not as much in the dancing as in the dialogue taking shape between two seemingly disparate cultures.
The use of silence and stillness is nothing new to concert dance. It has been used for decades, often for the very purpose of subverting audience expectations. It has the power to draw our attention to our breath, to our body, and to our impulses.
Welch's choreography is both brilliant and difficult with demanding lifts, whiplash turns and unexpected combinations. In the first act, the dance for the four men was especially impressive, but the group dancing was also a joy to watch.
Powerful and poignant -- two simple words that provide a quick snapshot of Hubbard Street Dance Chicago's Fall Series at the Harris Theater Thursday evening. Each of the four pieces displayed strong choreography and palpable emotion.
As the piece unfolds, dancers pair up and present themselves to the audience in a series of dances that give the impression of the day unfolding gradually. The mood is initially light, but begins to shift as the black box starts to take the focus -- and then the ritual begins.
Today we have conductor Scott Speck with us to talk about the music for the Joffrey's upcoming Russian Masters program. The company will perform Nijinsky's "Le Sacre du Printemps," or "The Rite of Spring," with music by Stravinsky.
If nothing else, the announcement today that Luna Negra Dance Theatre is "ceasing opperations... due to financial constraints" is a lesson to the Chicago Dance Community to never take things for granted.
As she touched my hand to adjust it, I was keenly aware that this same hand had also touched Balanchine, Nureyev and countless others. It was hard to wrap your head around. I was thirteen years old and I had never been more intimidated. Or more thrilled.
Two tickets to the ballet and a fine dining experience sounds like a great night in a Frommer's guide or penciled in your rich aunt's pocket calendar, but let's face it: Sounds a little stuffy and expensive, doesn't it?
It's not easy to bring the multitude of choices in movement, costume, lighting and set into harmony with equally complex choices in melody, texture and tone, but when it's done really well, it's a very different kind of art.
For me, my investment in the Chicago dance scene is a very compelling reason to stay. We have spent the last four years plié-ing and tendu-ing and learning about Martha Graham, but we have also been building connections and networking.