hubbard street 2

The Spice Of Life

April 29, 2013 by 4dancers

Hubbard Street 2 Dancers Lissa Smith, left, and Alicia Delgadillo in one5two4three by Taryn Kaschock Russell. Photo by Todd Rosenberg.

by Lissa Smith

One of many special things about working at Hubbard Street Dance Chicago is the opportunity to dive into a variety of works, both new and existing. As a dancer, having a piece created on you allows an immediate personal connection with the choreographer and the choreography. It provides the opportunity to take ownership.

In contrast, learning and performing a revival presents the chance to step into a different pair of shoes. I have equal admiration for both creative and restaging processes, and in my recent work with Hubbard Street 2, I’ve done both — simultaneously.

On May 4, 2013, HS2 performs with the Chicago Symphony Orchestra as part of its family-friendly “Get Up and Dance” series. I’ll perform excerpts from the famous Martha Graham work, Appalachian Spring (1944).

I began intense training in Graham technique at the age of nine. I took Graham master classes once a week at my dance studio with an incredible teacher, Peter London, who was and is a great mentor. He encouraged me to audition for, and later attend, New World School of the Arts, where I had the opportunity to study Graham technique in further depth.

During my four years at New World, I performed renowned Martha Graham works such as Diversion of Angels (the Couple in Yellow) and “Conversation of Lovers” within the piece Acts of Light, both staged by London. Throughout the years, I have also studied at the Martha Graham School of Contemporary Dance in New York, and I have enjoyed seeing the Martha Graham Dance Company perform many times. I am always moved by their passion and language. Their repertory transports me into their scenario and has me follow their dramatic story line from start to finish.

Yuriko, left, and Hubbard Street 2 Dancer Lissa Smith at the Boston Conservatory. Photo by Giulia Pline.

My sophomore year at the Boston Conservatory, where I was pursuing a BFA in dance performance, I was privileged to work with former Graham dancers Yuriko and her daughter, Susan Kikuchi, on the restaging of Martha Graham’s piece Frontier. This happened to also be the last Graham work that Yuriko would restage.

Never in my life could I have predicted that here, at Hubbard Street, I would have the opportunity to perform yet another piece by Martha Graham. My costume arrived at our studios the other day and, coincidentally, it is the same dress that my current director, Taryn Kaschock Russell, wore when she performed this same piece with the Joffrey Ballet. In the dance world, the passing of a costume is like passing the torch; it’s incredibly exciting and meaningful to me and I’m grateful and honored to work with Susan Kikuchi again on Appalachian Spring. To be able to perform this masterwork, passed down through generations of dancers, is a dream come true.

Hubbard Street’s next hometown performances are June 6–16, our second annual danc(e)volve: New Works Festival at the Museum of Contemporary Art. The danc(e)volve choreographers are all company members, selected from the previous year’s Inside/Out Choreographic Workshop at the UIC Theatre. (Save the date for our next Inside/Out, coming up on July 6!) These choreographers are asked to either expand their projects or create brand-new works for danc(e)volve.

Working with Andrew Wright, a fellow HS2 dancer, on his new piece has been a bonding experience for our company. We are all so eager and hungry to try new things, to really explore, and our excitement provides fuel for each other’s creative energy. A different side of each one of us has emerged as we learn Andy’s specific movement style and get to know his approach to directing.

I chatted with Andy about his piece and he said, “The process turned out to be completely different than I expected, going into it. I had all these grand ideas, thoughts, and inspirations, but at the end of the day, when I took a step back and just allowed myself to be present in the studio with my cast, things just ended up flowing. The piece ended up going in a much more personal direction than I had originally intended, but I understand why it had to.”

Andrew Wright Taryn Kaschock Russell Susan Kikuchi Lissa Smith photo Kristen Brogdon — From left: Hubbard Street 2 Dancers Lissa Smith and Andrew Wright; HS2 Director Taryn Kashock Russell, and Martha Graham repetiteur Susan Kikuchi. Photo by Kristen Brogdon.

I asked him to elaborate. “These past two years at Hubbard Street have had a profound effect on my life,” he explained, “and I think that comes across in the work. At the end of the day, when I watch it, I see us. I see our experiences. I see Hubbard Street 2.”

Having a coworker at the helm of the studio has been inspiring. There are definitely times when we all laugh and goof off, as friends do, but we are a focused group of committed dancers, and we give Andy the respect and attention he deserves — and we can’t wait to share his piece with audiences next month.

Another work I’ll perform during danc(e)volve is a duet for myself and Richard Walters, another fellow HS2 dancer, with comedic cameos by main company member Quinn B Wharton. It’s a portrait, really, of Ricky’s and my different, strong personalities, anxieties and habits. Making it even more personal is the fact that Terry recorded, edited, and arranged our voices to make the piece’s score.

There’s nothing like rehearsing to the sound of your own voice. It’s fulfilling (and refreshing!) to spend a rehearsal day rehearsing three projects so different from each other. Terry’s piece is very versatile, and is choreographed around a small table and two chairs. We will perform this at danc(e)volve and at Chicago City Winery on May 6, as part of Hubbard Street 2’s opening act for Fear No Art’s “The Dinner Party.” The choreography is extremely detailed and fast-moving, which keeps Ricky and me on the edges of our seats — literally!

More of Terry’s new choreography shares our program with the Chicago Symphony Orchestra and Appalachian Spring. He’s been the main company’s rehearsal director since 2010 but, at the end of this month, our current director Taryn Kaschock Russell departs with her family for New York and Terry takes over as director of Hubbard Street 2. I’m so grateful to be having this experience during the transition. Although I will truly miss working with Taryn, I’m very excited for all that’s in store for Hubbard Street 2 — which you’ll hear more about in my next guest post, here at 4dancers.org. Thanks for reading!

Catch Lissa Smith and Hubbard Street 2 onstage:

• May 4 at Symphony Center, with the Chicago Symphony Orchestra

• May 6 at Chicago City Winery for “The Dinner Party” (also streamed live online)

• May 11 at Ramsey Auditorium in Batavia, Illinois as part of Fermilab’s 2012–13 Arts & Lecture Series

• May 30 at the Harris Theater, during Hubbard Street’s 35^th Anniversary Spotlight Ball

• June 6–16 at the Museum of Contemporary Art, for danc(e)volve: New Works Festival

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.

Touring Germany With HS2

March 28, 2013 by 4dancers

HS2 Dancers - Germany Tour - Photo Matt Miller — HS2 during Germany tour, Photo by Matt Miller

by Lissa Smith

Suitcase? Check. Carry-on? Check. Phone? Wallet? Passport? Laptop?

Check, check, check, check. I sat on the edge of my bed, again reviewing the long list I painstakingly made. As I eagerly awaited my cab’s arrival, my nerves and excitement got the best of me. All of the hours spent rehearsing and refining our company repertory would now be put to the test of audiences in Europe.

My effort to pack lightly was an epic fail: a large suitcase, a shoulder tote, a backpack — oh, and a broken finger — would all accompany me abroad. But I was as ready as I could be to travel with Hubbard Street 2, for a two-week tour of Germany. I grabbed one last important item: my travel outlet adapter. Okay, now I was ready. I put on my coat, grabbed my luggage, and headed out with my dreams.

HS2 Dancer Lissa Smith - Germany Tour - Photo Alicia Delgadillo — Lissa in Germany, Photo by Alicia Delgadillo

Fast-forward to our arrival in Frankfurt. Completely jetlagged, HS2 deplaned and followed signs reading Gepäckausgabe (baggage claim). We all grabbed breakfast — at 3am Chicago time — and waited for our presenter, who greeted us with a hearty und warm Willkommen! We stuffed the trunk of a van and hit the road.

The van went flying and, really, I mean flying. We quickly learned that German highways have no speed limits. Still, we struggled to keep our eyes open. I tried willing myself to stay awake, but it was a challenge I could not win. I was not the only one who succumbed: All of us fell asleep in the van, and got enough rest to go exploring after settling into our first hotel, the Nestor in Ludwigsburg.

One amazing benefit of performing with a dance company is the opportunity to visit so many new places and travel together. We have truly bonded through our shared experiences of rehearsing, dining, and living together in hotel rooms in so many cities. We are family now, in every sense of the word. We can read each other’s moods and have learned to travel and grow together as a group. The trust that we have for each other extends far beyond the studio and stage. Our tour through Germany, this past February and March, was HS2’s current members’ first international experience together, and my first tour abroad ever.

All of the cities we visited were adorable and quaint, with restaurants, bakeries and butcher shops galore. Every hotel offered a huge breakfast buffet, truly appreciated by all of the HS2 dancers. We particularly enjoyed the German coffee, and I was able to check off a few items on another list, of German foods beginning with the letter S. Streusel? Check. Schnitzel? Check. Strudel? Häkchen (check).

Hubbard Street 2 Dancers Brandon Lee Alley Lissa Smith and Ensemble in Recall by Robyn Mineko Williams. Photo by Media 4 Artists - Theo Kossenas — Lissa, Brandon Lee Alley and HS2 Ensemble in “Recall”, Photo by Media 4 Artists – Theo Kossenas

We performed in five venues and taught workshops throughout Ludwigsburg, plus Aschaffenburg, Remscheid, Rüsselsheim and Schweinfurt. Some of the theaters were more intimate; others were large and quite stunning. Performing in Germany was unlike anything I’d ever experienced before. Our performances were completely sold out and our audiences were true supporters of the arts. Our final bows were unforgettable moments that I will cherish forever: We’d get four curtain calls, standing ovations and flowers presented to us onstage, with stomping and clapping in unison as the soundtrack. The connection that we felt to our audiences was incredibly moving and heartwarming — such a rewarding feeling, knowing that our performances were valued and appreciated. The art of dance can truly bridge cultural differences and bring people together in ways both surprising and exhilarating.

The majority of our audience members stayed afterward and participated in our talkbacks, with our presenter translating both ways. We were asked some very intriguing questions; a couple of people expressed interest in the level of involvement that the dancers had in developing the choreography we performed. Audience members were also interested in learning whether we improvised during performances. Our answers to those questions were that, with a few of the works on our program (Penny Saunders’ Bonobo, Robyn Mineko Williams’ Recall, and Strides by Norbert De La Cruz III), the choreographers brought already-set material. Gregory Dolbashian, meanwhile, used material developed by us while creating By the skin of my teeth, using improvisation exercises and other tasks. So while the finished product might not include any live improvisation, it might have played a central role in a collaborative, creative process.

It’s hard to put into words what I brought home from Germany on March 2. The pieces that I performed there will forever be cross-referenced in my mind and heart with my memories of how our German audiences received them. As soon as I hear any of their scores, I feel the unique energy transmitted to us as we danced in those theaters. Every city we visited bestowed all of us with gifts that might not be tangible, but are nevertheless enduring and everlasting. A little bit of Germany comes with me to Hubbard Street’s studios every day now, and it brings me great joy and satisfaction to know that we left a little bit of HS2 across the Atlantic.

Hubbard Street 2 returns to Germany for performances in five additional cities in March 2014. Catch the company on May 4, at Symphony Center for a special “Get Up and Dance” performance for families, on May 6 at Chicago City Winery for Fear No ART’s “The Dinner Party,” and on May 11 at Ramsey Auditorium in Batavia, Illinois, as part of Fermilab’s 2012–13 Arts & Lecture Series. Visit hubbardstreetdance.com for a complete schedule of events and touring engagements.

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.

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.

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.

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.

Dance Hairstsyle: The Re-re Twist

November 23, 2012 by 4dancers

the re-re twist dance hairstyle — The Re-re Twist

We’ve never featured anything quite like this on 4dancers, but when I saw the Facebook picture of this hairstyle, I had to get in touch with the dancer(s) that were responsible for bringing it to my attention and see if they would be willing to share…

Many thanks to Lissa Smith and Emilie Leriche from Hubbard Street 2 for taking the time to break down this cool hairstyle, named appropriately the “Re-re Twist”.

Emilie came up with the idea for this particular look and Lissa was kind enough to serve as the model…

I thought this would be a fun style to wear for performance, class–or even for a night out on the town…hopefully you’ll enjoy it too! Let us know what you think by leaving a comment below. And now…the details…

Step 1:

Part hair far to chosen side, and at the base of your crown switch back to a center part. This will help create more even braids.

Step 2:

Under-braid (essentially like French braiding, but rather than folding each section over each other, fold them underneath), making sure to keep each braid as far from the center of your head as possible, this will help the final effect of the “do.”

Repeat on other side…

(Side note: Starting each braid as close to forehead as possible will also enhance the final look.)

Step 3:

Create a bun with the smaller of the two braids (this will be the one closest to the side upon which you parted your hair), making sure to twist hair in toward the center of your head rather that out. Pin securely into place.

Step 4:

Take remaining braid and twist across head and around the bun. This braid should ultimately end up twisting in the opposite direction.

That’s it!

Thanks again to Lissa and Emilie for taking the time to really break this down for us–much appreciated!

robyn mineko-william, lissa smith, emilie leriche — Emilie Leriche (far left, hair style creator) and Lissa Smith (far right, hair model) at HS2’s performance in Bethesda, MD before going on stage to perform Robyn Mineko-William’s “Recall.”

Let us know what you think below!

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.

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