alejandro cerrudo

Finis: Capturing Wendy Whelan In “Restless Creature”

April 30, 2013 by 4dancers

by Christopher Duggan

My wife Nel Shelby, a dance videographer, and I have been coming into rehearsals with longtime New York City Ballet dancer and international ballet superstar Wendy Whelan as she creates work with choreographers Alejandro Cerrudo (Hubbard Street Dance Chicago), Joshua Beamish (MOVE: the company), Brian Brooks (Brian Brooks Moving Company) and Kyle Abraham (Abraham.In.Motion), and we’re over the moon about filming and photographing behind-the-scenes moments to preserve and promote these amazing collaborations.

After years of photographing and filming performances and rehearsals, Nel and I believe in the power of great dance documentation, but nothing compares to seeing Wendy Whelan perform live. She is captivating, enthralling, alluring – I just can’t describe how I feel when I watch her dance. It’s simply incredible.

When the artists showed what they’ve been working on to an audience at the Guggenheim’s Works & Process performance series this month, I was photographing and Nel was filming. When the show came to a close, I looked over at Nel and she was crying.

There’s just something about Wendy.

Restless Creature will have its world premiere at Jacob’s Pillow Dance Festival this August. Can’t wait!

Contributor Christopher Duggan is the founder and principal photographer of Christopher Duggan Photography, a New York City-based wedding and dance photography studio. Duggan has been the Festival Photographer for Jacob’s Pillow Dance since 2006. In this capacity, and as a respected New York-based dance photographer, he has worked with renowned choreographers and performers of international acclaim as well as upstarts in the city’s diverse performance scene.

He has created studio shots of Gallim Dance, Skybetter + Associates and Zvidance, among others, and in 2011 alone, he has photographed WestFest at Cunningham Studios, Dance From the Heart for Dancers Responding to Aids, The Gotham Dance Festival at The Joyce Theater, and assisted Nel Shelby Productions in filming Vail International Dance Festival.

Duggan often teams up with his talented wife and Pillow videographer Nel Shelby (http://nelshelby.com). A New York City-based husband and wife dance documentation team, they are equipped to document performances, create and edit marketing videos and choreography reels, and much more.

Christopher Duggan Photography also covers Manhattan’s finest wedding venues, the Metropolitan and Tri-State areas, and frequently travels to destination weddings. The company’s mission is straightforward and heartfelt – create timeless, memorable images of brides, grooms, their families and friends, and capture special moments of shared love, laughter and joy.

His photographs appear in The New York Times, Destination I Do, Photo District News, Boston Globe, Financial Times, Dance Magazine, Munaluchi Bridal, and Bride & Bloom, among other esteemed publications and popular wedding blogs. One of his images of Bruce Springsteen was added to the Rock & Roll Hall of Fame’s celebrated photography collection in 2010. His company has been selected for inclusion in “The Listings” in New York Weddings magazine.

Worlds Unite

March 1, 2013 by 4dancers

hubbard street 2 dancers — Hubbard Street 2 Dancers Brandon Lee Alley, left, and Lissa Smith perform at 1871 Chicago during the launch event for Dance as a Learning Platform. Photo by Todd Rosenberg

by Lissa Smith

The similarities between startup tech companies and dance companies, while not always immediately apparent, are both striking and parallel in their structure and ultimate success. Hubbard Street Dance Chicago’s collaboration at 1871 Chicago is a shining example of what can happen when creative business meets the dance world.

The dancers of Hubbard Street 2 bring their passion and excitement to the Merchandise Mart on Monday evenings, to perform for entrepreneurs and participate in workshop forums. When not performing HS2 repertory, the dancers unleash individual creative movement, phrases and improvisations. The business leaders and dancers have both learned to appreciate the shared model for building a successful company, whether it makes dance or technology. Passion is the underlying fuel that is the commonality of both new business ventures and dance works. Both dancers and entrepreneurs see their work as filling gaps in their respected fields. Dancers and tech participants work together, often outside their comfort zones, to unravel what is necessary to building a successful framework, while consultants from ClearSpace and Strategos keep all of us moving.

Event themes such as Lead and Innovate direct participants to break down the building blocks that provide the steps used to assure successful performances or outcomes. Creative thought and movement, group cooperation, and acceptance of leadership and guidance sum up the shared recipe for successful dance and tech companies alike. Both parties have learned that there is inherent risk involved in the development of their careers, but that risk-taking is also vital. This unique program has brought together the arts world and business world, taking two unlikely compatriots, and teaching them that what they do everyday in their separate worlds is what is necessary to reach what is surely a common goal: great results.

At our first 1871 event, we looked at an idea at its starting point, through its development, and where its evolution eventually led. I chose a clear starting point and, gradually throughout the performance, expanded it. This performance was satisfying for me, because it included a lot of our own creative expression and movement, rather than being a presentation of choreography we perform in theaters.

Also in this back-and-forth collaboration, 1871 residents were invited to see Hubbard Street’s main company with HS2 in One Thousand Pieces by our resident choreographer, Alejandro Cerrudo. Our company continues to visit 1871, and its members continue to come into our spaces, opening eyes and minds on both sides to new outlooks and ideas.

hubbard street dancers at art institute of chicago — Hubbard Street 2 Dancers Emilie Leriche, left, and Lissa Smith with Pablo Picasso’s Man with a Pipe, 1915. The Art Institute of Chicago, gift of Mrs. Leigh B. Block in memory of Albert D. Lasker. © 2012 Estate of Pablo Picasso / Artists Rights Society (ARS), New York. Photo by Todd Rosenberg

Another Hubbard Street Dance Chicago alliance worthy of mentioning is its partnership with the Art Institute of Chicago. Similar to the 1871 collaboration, this program also brings together two things seemingly unlike: art objects and moving bodies. Dancers use movement to interpret the themes and ideas in famous artworks, often performing in front of the actual pieces themselves. These performances are always site-specific, which allows both the dancers and the audience members to bridge their attention and engage in appreciation of similarities between visual and performing arts.

The most recent Art Institute of Chicago performance Hubbard Street 2 participated in, “What is Blue?”, began a spring miniseries relating to the exhibition “Picasso and Chicago.” This first performance was described as a discovery of the artist’s social consciousness. Griffin Court was the site of this incredible performance — the vast, open space, a live guitarist, and Picasso’s art projected behind us provided endless inspiration for us dancers and the audience alike. My favorite work by Picasso is his Guernica, an oil-on-canvas created in 1937. The color-scheme of this piece is black, blue, grey, and white; it describes the bombing of the village of Guernica during the Spanish Civil War. I love everything about this piece: its horizontal length and dimensions, the angular shapes and, especially, the extreme emotion it conveys.

Something new and surprising is a regular occurrence at the Art Institute when Hubbard Street dancers are in residence — catch us back at the museum on March 21 at 6pm, for our next Picasso-themed event, “Why Cubism?”

BIO: Contributor Lissa Smith, age 21, was born and raised in Miami, Florida. She is currently dancing with Hubbard Street 2 of Hubbard Street Dance Chicago. She attended The Boston Conservatory where she was both a Dance Conservatory Scholarship recipient and Jan Veen Dance Scholarship recipient.

Lissa has trained at the prestigious Jacob’s Pillow Dance Festival, Hubbard Street Dance Chicago, The Juilliard School, Alonzo King’s Lines Ballet, The Martha Graham School, The Joffrey Ballet School and The Joffrey Midwest Workshop. Lissa has worked with world renowned choreographers such as: Thang Dao, Peter London, Alberto Del Saz, Maurya Kerr, Clébio Oliveira, Penny Saunders, Hofesh Shecter, Didy Veldman, Uri Sands, Gregory Dawson, Stephen Pier, John Magnus, Josée Garant, Viktor Plotnikov, Robyn Mineko Williams, Tony Fabre, and Judith Jamison. She has danced principal roles such as: “Yellow Girl” in “Diversion of Angels”, “Conversation of Lovers” within “Acts of Light” and “Frontier”, the solo choreographed by Martha Graham and staged by Yuriko and Susan Kikuchi along with Yasuko Tokunaga.

Lissa was the soloist lead dancer in both Thang Dao’s contemporary ballet, “Foil” and Greg Dawson’s contemporary ballet, “Eclipsing Venus”. She has also performed Jose Limon’s “Choreographic Offerings” staged by Jennifer Scanlon and Libby Nye. Lissa has performed the “Doll with Broken Head” solo from within “Mechanical Organ” choreographed by Alwin Nikolais, staged by Alberto Del Saz. Lissa received the “Modern Dance Award” and the “Dean’s Dance Award” upon her graduation from New World School of the Arts High School in June 2009 and won the “Arts For Life!” dance scholarship in 2009 presented by Former First Lady Columba Bush.

In 2012, Lissa was awarded the Martha Hill Young Professional Award.

Lissa’s posts on 4dancers are her own opinion and in no way reflect the thoughts or opinions of her employer, Hubbard Street 2.

Reflecting Chagall: Hubbard Street’s “One Thousand Pieces”

October 19, 2012 by 4dancers

by Catherine L. Tully

The world premiere of Alejandro Cerrudo’s One Thousand Pieces was the first full-length work ever presented by Hubbard Street Dance Company, and it is indeed a reflection of Marc Chagall’s America Windows in the very best sense of the word. Despite using the artist’s famous blue panels of stained glass as his inspiration, the piece is conceptual, shaking off any literal interpretation in favor of a multifaceted offering of mood and emotion.

This performance kicks off Hubbard Street’s 35th Anniversary Season, and Cerrudo appropriately uses a large cast of dancers, including members of Hubbard Street 2. Rarely are all of them on stage at once–he seems to prefer more intimate numbers for choreography using two, three or four dancers at a time. Even so, there were moments where the entire group took to the stage and it was a powerful sight to see all of these talented dancers move in unison.

Costumes were kept simple but the set design changed throughout and Thomas Mika’s work here contributes to the atmosphere considerably. The “windows” are represented by a series of mirrored rectangles that are intermittently raised, lowered and even spun, adding impact by occasionally catching the light like a shard of glass in the sunshine, or in this case, moonlight. The subtle yet brilliant lighting design by Michael Korsch meshes perfectly with every dance sequence, complimenting the group work and adding intensity to duets and solos.

Throughout the piece there is no doubt that Cerrudo is the force behind the choreography; his signature touches are everywhere–from the tender partnering with its distinct flow to the dancers appearing and disappearing quickly and quietly. Even so, he succeeds in remaining fresh by delivering the unexpected, such as raising the curtain to reveal a stage floor drizzled with water, with three misty “waterfalls” serving as the scenery. Until this moment, only the music of Philip Glass accompanied the dancers, but then the sound of bodies kicking up spray and sliding through puddles is added to the mix as well.

Cerrudo plays with the idea of light and reflection through the choreography, crafting a vision complete with mirror-like movements and even some kaleidoscopic imagery. Bodies come together, transform and change shape in a variety of pretty patterns with a progression that is uninterrupted and exceedingly graceful. So often the movement and shapes created by Cerrudo seem as if they are the most natural thing the body could do–despite the obvious complexity. The match is a perfect one since the skilled dancers in this company have no trouble making it all look easy.

One’s reflection in a window is never quite an exact replica–the light is never as bright and the features blend more easily, revealing a doppelganger that is far more abstract than real. Although this shadowy image is never a true duplicate of the original–sometimes the filter of softness and mystery actually makes it more beautiful.

That is certainly the case here.

One Thousand Pieces is at the Harris Theater through October 21st.

Behind the scenes at Hubbard Street:

Hubbard Street’s Summer Series – Complex and Sublime

June 1, 2012 by 4dancers

by Catherine L. Tully

After a strong spring program, expectations ran high for Hubbard Street Dance Chicago’s Summer Series at the Harris Theater. The line-up features three pieces—an unusual collection of choreography that takes the audience on a journey that they are certain to remember for a long time to come.

Choreographed by Alejandro Cerrudo, “Malditos” was originally a collaborative effort between Hubbard Street and Nederlands Dans Theater. Set to music from the film, The Beat My Heart Skipped (composed by Alexandre Desplat), one of the most striking features of this piece is the lighting design by Tom Visser. At times it barely illuminates the dancers—the visual equivalent of a whisper, making the viewer almost lean forward in their seat to watch the movement. Indeed, nothing about Cerrudo’s choreography shouts; it’s not showy even when it’s infused with energy. Instead it melts and dissolves through space, much like the dancers that come and go seemingly out of nowhere from the back of the stage.

Featured next is William Forsythe’s “Quintett” – and Hubbard Street has the honor of being the first American company to perform this work, first created in 1993. Set to U.K. composer Gavin Bryars’ composition “Jesus’ Blood Never Failed Me Yet”, it opens with five dancers, a stark white set–and a palpable feeling of discomfort.

HS12530_169 — Hubbard Street Dancers Penny Saunders and Jesse Bechard. Photo by Cheryl Mann.

In an unapologetic fashion, the audience is quickly pulled into this private, intimate setting. Dancers offer brief moments of tenderness, surrounded by explosive, sometimes unsettling sequences of movement. “Quintett” isn’t a passive piece where the audience gazes upon the dancers as they entertain. In fact, giving in to the uncomfortable feelings generated by the droning loop of the soundtrack and the unexpected movement patterns is almost a requirement if any sense of connection is to be found within the piece. This acceptance doesn’t come easily, but with it “Quintett” begins to transform, rewarding the viewer for the struggle.

“THREE TO MAX” is the final piece, originally created for Hubbard Street as a collage of Ohad Naharin’s works over the last decade. From the sensual hip circles seven women perform from a seated position on the floor to the “snapshot” movements that pulse out from a counted vocal rhythm, this is a piece that truly lets the company shine. Jeans, t-shirts and tank tops outfit the dancers in simplicity as they perform movements that range from clock-like ticking of the limbs (complete with vocals) to arabesques with arms that float skyward like a long swath of ribbon suspended in the air.

HSD110310_106 — Hubbard Street Dancer Robyn Mineko Williams in Ohad Naharin’s THREE TO MAX. Photo by Todd Rosenberg

Although the collection of his works here are each quite different they are blended together well, and selecting “THREE TO MAX” as the final piece is a fitting end to a wonderfully executed program. Chicago should be proud—there’s nothing quite like Hubbard Street—and this is a program to prove it.

Hubbard Street Dance Chicago is at the Harris Theater through June 3^rd, which will also be Robyn Mineko Williams’ final performance after 12 years with the company.

Hubbard Street Dance Chicago’s World Premiere – Little mortal jump

March 11, 2012 by 4dancers

by Catherine L. Tully

AljeandroCerrudo — Alejandro Cerrudo, Photo by Todd Rosenberg

This week, Hubbard Street Dance Chicago’s Spring Series will feature a world premiere from choreographer Alejandro Cerrudo—Little mortal jump.

Cerrudo has the distinction of being named Hubbard Street’s first Resident Choreographer—a title he has held since 2009. His works are performed in dance companies around the world and he was recently honored with an award from The Boomerang Fund for Artists.

The choreographer took the time to share some thoughts with us regarding his latest piece, which is his 10^th work for the company.

How would you describe your new work, Little mortal jump?

Little mortal jump consists of twelve very different pieces of music carefully put together and I have attempted to create a cohesive whole with them. This new work is a study on ever-changing moods and twists and finishes in a very different place than where it starts. This piece features some of the most complex partnering I have ever created.

Can you talk a little bit about your choreographic process? How did you go about creating this piece in particular?

My process is different each time I approach a new work, but I usually start by choosing the music and then imagining an atmosphere. For Little mortal jump I had an idea for each section that I then developed further. I have also used the dancers to bring in new ideas. I always adjust my concepts to each individual dancer that I work with rather than imposing my ideas regardless of the dancer and their abilities.

AljeandroCerrudo2 — Hubbard Street Dance Chicago's Alejandro Cerrudo, Photo by Todd Rosenberg

How did you select the music, and what relationship does it have to the choreography?

I am always listening to music. It is my pastime. When I feel inspired by a specific piece, I start to imagine what I would do with it or how I would use it. Music is very important in all of my works. Only on very rare occasions do I actually only use music as a soundscape.

What did you enjoy most about choreographing this new piece?

For this piece I have used moments from my older works that are visually very different and have fused them together to create this new choreography. I have enjoyed allowing myself to be directly influenced by my past work and have created something very new – something that can coexist on stage together.

What do you think the greatest challenge is for you as a choreographer?

One of the greatest challenges is to make something that no one has ever seen before – and make it well.

Hubbard Street Dance Chicago’s Spring Series takes place March 15^th – 18^that the Harris Theater. In addition to Little mortal jump, the program also features Israeli choreographer Sharon Eyal’s piece Too Beaucoup and LINES Ballet artistic director Alonzo King’s piece Following the Subtle Current Upstream.

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