auditorium theatre

Preview: The Joffrey Ballet: Bold Moves

February 9, 2016 by 4dancers

*The Joffrey Ballet in RAkU. Photo by Cheryl Mann*

by Catherine L. Tully

The Joffrey Ballet opens its Bold Moves program Wednesday, February 10th at Chicago’s Auditorium Theatre with one world premiere and two audience favorites. The evening will feature live music from The Chicago Philharmonic, with Joffrey Music Director Scott Speck at the helm.

Joffrey Ballet in Forgotten Land — *Christine Rocas and Rory Hohenstein in Forgotten Land. Photo by Herbert Migdoll*

Jirí Kylián’s Forgotten Land is the opening piece, set for 12 dancers, with music by English composer Benjamin Britten. Last performed by the company in 2012, this well-received ballet was inspired by an Edvard Munch painting of women staring at the sea from the beach. The choreography does indeed evoke water, its many lifts and swirling motions resembling the ebb and flow of waves.

Preview of world premiere:

Another work for 12 dancers, Ashley Page’s world premiere, Tipping Point, is the next item on the program. This piece is centered around the music, Thomas Adès’ violin concerto Concentric Paths. An award-winning choreographer, Page has a strong background in ballet, but this abstract piece focuses on highlighting human behaviors that are illuminated by the shifting tensions of the score. Take a closer look at how Page came to work with Joffrey in this post on Art Intercepts.

Joffrey dances RAkU — Fabrice Calmels and Victoria Jaiani in RAkU. Photo by Cheryl Mann

RAkU is the final piece in the Bold Moves program, and it is a truly unique offering. First created for San Francisco Ballet in 2011, Yuri Possokhov’s contemporary story ballet is based on the burning of Kyoto’s Golden Pavilion. The choreographer commissioned a score by composer Shinji Eshima, and the music illuminates the love story beautifully. A stunning visual piece as well, RAkU fits nicely with the program’s theme, as it leaves quite an impression.

Bold Moves runs from February 10th through the 21st at Chicago’s Auditorium Theatre.

Take a quick peek at the three program pieces here:

Joffrey Shows Range With “Unique Voices” Program

February 13, 2015 by 4dancers

The Joffrey Ballet in "Tulle". Photo by Cheryl Mann. — The Joffrey Ballet in “Tulle”. Photo by Cheryl Mann.

by Catherine L. Tully

The Joffrey Ballet displayed determination, range and energy as they tackled three disparate pieces on Wednesday night at Chicago’s Auditorium Theatre. “Unique Voices” offers the work of two choreographers who explore the various aspects of relationships, and one who delves into the very nature of ballet itself.

Maninyas by Stanton Welch — “Maninyas” – April Daly and Miguel Angel Blanco. Photo by Cheryl Mann.

Stanton Welch’s “Maninyas” examines the layers of vulnerability and openness in love relationships, and a range of related feelings are explored throughout. As a backdrop, panels of fabric hang from the ceiling and the dancers are dressed in vibrant hues, moving to Ross Edwards’ “Maninyas Concerto for Violin and Orchestra.”

Five couples whirl and leap through a series of movements so complex that it’s exhausting just to watch. The choreography is extremely challenging and the dancers attack it with strength and energy–although they fall a little short of perfection. That said, “Maninyas” is not an easy piece to dance flawlessly, and the company holds nothing back–women fling skirts around with abandon and men bravely tackle the most harrowing of lifts.

Specific movements are often repeated, reflecting various stages of self-protection—or abandon. At times dancers cover their eyes, while in other moments they wildly hurl their arms open to the heavens as if giving up—or giving in. Women arch backward and “trust fall” onto the backs of their partners, and in the final moments of the piece the women’s legs open widely in submission as men carry them off into the darkness.

The Man In Black ballet — “The Man in Black” – Edson Barbosa, Joanna Wozniak, Fernando Duarte amd Derrick Agnoletti. Photo by Cheryl Mann.

James Kudelka’s “The Man In Black” offers a totally different take on relationships. A decidedly non-showy piece, it meanders quietly through six different Johnny Cash covers—and what feels like many years of relationships between four people. Set for three men (Derrick Agnoletti, Edson Barbosa and Fernando Duarte) and one lady (Joanna Wozniak), it is a very emotional piece that examines the impact each person has on the group as a whole.

Although it takes some time to settle in and get invested after the wild intensity of “Maninyas,” the simplicity of this piece is as beautiful as it is pure. The dancers drift in and out of relationship with one another; sometimes fighting, sometimes desperate to help one who is troubled, and sometimes just going along on the “journey.” Cowboy boots are used both as costume and as a rhythm tool, and Cash’s voice couldn’t be more moving.

“The Man In Black” nearly comes across as an easy piece—until you begin to realize that many of the movements are like a Jenga puzzle, with one person completely reliant upon another for stability. Unlike the complexity of “Maninyas,” here almost everything is stripped down to the core—but paired with Cash’s tremendously powerful voice, it has everything needed to make a striking impact. And that it does.

And then there’s “Tulle.”

Hailed as a “ballet about ballet,” this program-ending piece by Alexander Ekman is more theater than dance at the outset. Large LED panels serve as the backdrop, flashing images of eyes, clowns, and close-ups of what appears to be actual tulle fabric in a blue hue. The marvelous soundtrack by Mikael Karlsson is varied, and includes counting, heavy breathing, stomping and more fun/funny sounds punctuating a variety of “scenes” throughout the piece. The five positions are called off, a dancer talks about why she loves ballet and the history of the art form is examined in narrative.

At one point a bevy of “swans” wanders over to the edge of the stage and stops—looking out at the audience in silence for an uncomfortable amount of time. In an unexpected move, they all nervously begin to whistle the music to “Swan Lake”. It’s silly bits like this that add breadth to “Tulle,” and Ekman manages to deliver just the right amount—without mocking the art form in too terrible a fashion.

Ultimately, this behind-the-scenes, humorous take on ballet dissolves into a tight display of technique and a powerful ensemble piece with music to match. And while Ekman may make light of this dance form in some ways, it is clear that there is also a reverence and respect for the beauty it unveils when all the elements come together on stage. That was on display for all to see on opening night.

And indeed—it was pretty fantastic.

Joffrey’s “Unique Voices” program runs through February 22nd at the Auditorium Theatre in Chicago.

Disclosure: Joffrey dancer Cara Marie Gary and conductor Scott Speck are contributing writers to the site.

Joffrey Ballet – Stories In Motion

September 15, 2014 by 4dancers

This Thursday the Joffrey will be performing Stories In Motion at Chicago’s Auditorium Theatre. The program features three ballets, one of which is a Chicago premiere.

First up will be Balanchine’s Prodigal Son, which hasn’t been danced by the company since 2000. Based on a well-known biblical tale, this ballet is a visual treat to watch. Artistic Director Ashley Wheater will be performing the role of Father, and he talks about the reason these three ballets were chosen on j-Pointe, Joffrey’s blog.

The company was able to call on the considerable expertise of Edward Villella to coach the dancers during rehearsal. Take a look at some of the footage here:

Antony Tudor’s Lilac Garden is next on the program. It has been called his first “psychological ballet”, telling the story of an arranged marriage and lost love. Set in Victorian times, the music is Chausson’s Poeme for violin and orchestra and Senior Répétiteur Donald Mahler worked with the dancers to help them fine-tune this ballet.

The final offering is the Chicago premiere of Yuri Possokhov’s RAkU. The storyline of this contemporary ballet follows a Japanese emperor, his princess, and an obsessive Buddhist monk. Here’s a video of the Joffrey dancers working on the ballet in rehearsal:

Stories in Motion opens Thursday, September 15th and runs through the 21st.

Joffrey Triumphs With ‘La Bayadere’

October 18, 2013 by 4dancers

april daly_erica lynette edwards_jeremy taulbee — April Daly, Erica Lynette Edwards and Jeremy Taulbee in Joffrey’s La Bayadere. Photo by Cheryl Mann.

by Catherine L. Tully

Even when choosing a large-scale ballet Joffrey is unique–and “La Bayadere” is certainly a bold choice. The ballet was first performed in 1877 at the Bolshoi Theatre in St. Petersburg, and it was choreographed by Marius Petipa. This version has been updated by Houston Ballet’s marvelous Stanton Welch, and it is easy to see why he is one of the most sought after choreographers of our generation. He has the ability to create such interesting movement that one wishes they had two sets of eyes to see it all–especially when the stage is filled with dancers.

Although the three-act plot seems convoluted, at the center of it all it’s really just a tragic love triangle between Nikiya (the temple dancer, Victoria Jaiani), Solor (the warrior prince, Dylan Gutierrez) and Gamzatti (the Rajah’s daughter, April Daly). The first act is set in India and it traces the forbidden love story of Nikiya and Solor–and the plot to bring about her death, crafted by Gamzatti and her servant Ajah.

Jaiani is achingly supple–offering her submission to Solor with tender, fluttering arms and yielding bends of the torso. Gutierrez, although an able partner, was at his best when soaring and bounding across the stage with passionate abandon.

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. Instead of tutus, tights and tiaras there are dazzling bras and colorful, flowing fabrics everywhere. The bright, jeweled costumes and lush scenery by Peter Farmer add quite a bit to the visual appeal of this ballet and Scott Speck and the Chicago Philharmonic added depth and drama with their mastery of the musical score by Minkus.

Fabrice Calmels is the perfect choice for the High Brahmin–radiating authority and confidence and dominating the stage with his presence. Also compelling were the musical John Mark Giragosian as Agni the Fire God and Erica Lynette Edwards as the maniacal Ajah.

The second act is set at the palace gardens as the wedding preparations for Solor and the princess Gamzatti take place. Daly was spectacular as she whipped off a triumphant series of fouettés and Jaiani was limp and heartbroken as she danced before the couple prior to her death.

victoria jaiani_dylan gutierrez3 — Victoria Jaiani and Dylan Gutierrez in Joffrey’s La Bayadere. Photo by Cheryl Mann.

The beginning of the third act is in stark contrast to the color and vibrant atmosphere of the other two–especially in the “Kingdom of the Shades” where women in all white tutus–ghostly images–dance in unison. One by one these figures come down a long ramp in arabesque, balancing, bending back, balancing again. A trance-like scene, this is where Joffrey was at its most impressive. With only a slight sway or quiver here and there, the company triumphed over one of the more difficult corps de ballet scenes in classical ballet. They moved as one.

The three “shade solos” were all danced with verve. Cara Marie Gary bounced fluently, Amber Neumann floated lightly and Amanda Assucena’s solid balance and incredible extension appeared effortless.

Once Solor returns to reality the end of this ballet becomes a whirlwind–exciting and dramatic, if somewhat frenzied after the otherworldly scene before it.

La Bayadere runs through October 27th at the Auditorium Theatre in Chicago.

Joffrey Ballet’s “Human Landscapes” Program Connects

October 18, 2012 by 4dancers

by Catherine L. Tully

The Joffrey Ballet’s 2012-2013 season opened Wednesday evening with a mixed repertory program aptly titled “Human Landscapes”. Forgotten Land, Pretty BALLET and The Green Table were offered to the audience at Chicago’s Auditorium Theatre, along with a live orchestra to accompany the three works.

Joffrey Ballet 2012 — Christine Rocas & Rory Hohenstein in Forgotten Land, photo by Herbert Migdoll

With its simple set and dancers clothed primarily in earth tones and varying shades of red, Jirí Kylián’s Forgotten Land opened the program for the evening. Set to music by Benjamin Britten, the contribution that the musicians and conductor Scott Speck made to the atmosphere was immediately apparent. As dancers whirled across the stage in what seemed an endless series of lifts, the music punctuated both the timing–as well as the tone of the piece. Performed confidently by the 12 dancers with the exception of a few minor timing issues, it was a surprise to learn that the piece hasn’t been done by the company since 1985.

Next was Pretty BALLET by James Kudelka, which opened with Victoria Jaiani held in a striking, if unusual pose–high above the head of partner Miguel Angel Blanco. With white fog blanketing the stage, the simple, dream-like scene was interrupted visually by a pair of bright red pointe shoes.

The contrast of effortless beauty and diligent work is explored throughout this piece–both concepts dear to the very heart of ballet as an art form. Denis Lavoie’s fragile-looking white skirts lend a magical quality to the stage, while the plain gray tights and shirts worn by the men seem to depict the repetition, labor and practice involved in perfecting ballet movements.

Highlights from the four movements in Pretty BALLET included a magnificent pas de deux, which featured Jaiani and Blanco, and a complex and extremely well-executed sequence for five men, performed by Derrick Agnoletti, Raul Casasola, John Mark Giragosian, Graham Maverick and Ricardo Santos. The music by Bohuslav Martinu˚ was brought to life by The Chicago Philharmonic, adding significantly to the overall impact of the piece.

Always last on the program (by the specific request of choreographer Kurt Jooss) is The Green Table, a ballet that is interwoven with the very history of the Joffrey itself. Originally choreographed in 1932, the Joffrey was the first American company to perform this German Expressionist work–years later in 1967. A commentary on the fruitlessness of war, it is a powerful piece illuminated by costuming, gesture, music and nuance.

The ballet opens and ends with a group of diplomats who are gathered around a large green table. Clad in wonderfully crafted masks created by Hermann Markard, this is a political gathering that could be taking place anywhere–at any time. At the outset of the ballet, negotiation gives way to argument and the scene helps to set the stage for what is to come; battles, war, and eventually, death.

Death is a strong character in this ballet, and it seems as if dancer Fabrice Calmels was born to play this role. With his large frame costumed in frightening skeletal imagery the mere sight of him is imposing, whether he is marking time before he collects the next body or is claiming someone from the battle ground of war. Other standout performances include April Daly as The Old Mother and Temur Suluashvili who seemed to have boundless energy as The Profiteer.

The costuming by Hein Heckroth certainly adds to the haunting atmosphere of this ballet–especially since the scenery is, for the most part, absent. Frederick A. Cohen’s music gives the choreography another dimension, especially because of the dual piano work of Paul James Lewis and Mungunchimeg Buriad, which was incredibly powerful.

The entire company danced well here, and there were many strong characterizations and striking moments. As a ballet, The Green Table is only as good as the care taken to preserve its symbolism and structure, and that was done with a wonderful attention to detail by the Joffrey Ballet at all levels.

It connects.

“Human Landscapes” is at the Auditorium Theatre through October 28th.

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