hubbard street dance chicago

All Is Possible: Hubbard Street’s Summer Series

June 7, 2014 by 4dancers

Hubbard Street Dancers in The Impossible by Resident Choreographer Alejandro Cerrudo, from left: Jessica Tong, Ana Lopez, Jonathan Fredrickson and Andrew Murdock. Photo by Todd Rosenberg — Hubbard Street Dancers in The Impossible by Resident Choreographer Alejandro Cerrudo,
from left: Jessica Tong, Ana Lopez, Jonathan Fredrickson and Andrew Murdock. Photo by Todd Rosenberg

by Catherine L. Tully

Hubbard Street Dance Chicago brought together three impeccably danced pieces at the Harris Theater Thursday night–one of which was resident choreographer Alejandro Cerrudo’s world premiere, “The Impossible”.

Starting out with a dramatic puff of cigar smoke and a single red candle, the audience first meets devilish Johnny McMillan, who is a shadowy figure and a force of evil throughout. Later he will be joined by a strong cadre of five other men who command the stage and careen through steps with both power and precision.

In the interim, a stooped old couple dances with little verve but much tenderness, draping themselves over one another and moving ever so gingerly. Soon they are joined by a younger couple (earlier versions of themselves?) and all four then dance together, offering both a reminder of what has been lost over time and a spark of joy for what is still left of love.

Ana Lopez and Jonathan Fredrickson capture the very essence of old age without being too literal. The choreography has the other couple helping them dance, gently lifting arms and moving limbs. It’s at once ghostly, sweet and sorrowful.

Branimira Ivanova’s costume design is subtle with just a few pops of color, such as the red socks and suspenders for McMillan’s costume–the perfect hint of drama. And the music, although by a variety of different artists, comes together seamlessly to help solidify the overall vision.

Cerrudo’s ability to tug at the heartstrings while merely hinting at a wisp of a storyline is phenomenal. Many of his hallmarks are here–slow motion movement, a simple, yet theatrical set, and the intense lighting design by Michael Korsch–yet, he offers some new possibilities through this choreography. The only small flaw in this new work of his is that it didn’t last quite long enough to see them all through.

Hubbard Street Dance Chicago in Gnawa by Nacho Duato. Photo by Todd Rosenberg — Hubbard Street Dance Chicago in Gnawa
by Nacho Duato. Photo by Todd Rosenberg

“Gnawa” opens the program with Nacho Duato’s stunningly musical choreography. Dancers place candles at the edge of the stage and move through the piece effortlessly, making a multitude of marvelous shapes as they go. The strength and control of the dancers is evident here as they make each movement appear completely natural–no matter how difficult. It’s easy to see that when Duato made this piece for them in 2005 he was intent on showcasing the abilities of the company. And showcase them it does.

Hubbard Street Dancers David Schultz, foreground, and Kevin J. Shannon in Quintett by William Forsythe. Photo by Todd Rosenberg — Hubbard Street Dancers David Schultz, foreground, and Kevin J. Shannon in
Quintett by William Forsythe. Photo by Todd Rosenberg

Forsythe’s “Quintett” puts forth both vitality and vulnerability as the dancers whirl through its tortuous choreography, set to composer Gavin Bryars’ composition “Jesus’ Blood Never Failed Me Yet”. Although this piece was only recently debuted by the company (2012), it is clear that it is well-suited to their skills. The sometimes graceful, other times erratic movements in the choreography are performed with aplomb by all five of the dancers–and this is by no means an easy task.

The stark set includes a projector which remains idle until the final minutes of the piece. It comes to life suddenly, throwing imagery against the white backdrop, but the focus is quickly torn away by the intensity of the lovely Ana Lopes who continues dancing with a sense of reckless abandon as the curtain lowers.

Hubbard Street performs at the Harris Theater through June 8th.

Hubbard Street Dances Kylián

March 15, 2014 by 4dancers

Hubbard Street Dancers Ana Lopez, left, and Garrett Patrick Anderson in Petite Mort by Jiří Kylián. Photo by Todd Rosenberg. — Hubbard Street Dancers Ana Lopez, left, and Garrett Patrick Anderson
in Petite Mort
by Jiří Kylián. Photo by Todd Rosenberg.

by Catherine L. Tully

Thursday evening Hubbard Street Dance Chicago offered up an evening focused completely on choreographer Jiří Kylián at Chicago’s Harris Theater. Two works the company has performed before (27’52” and Petite Mort) and two are company premieres (Sarabande and Falling Angels).

The program is arranged beautifully—working its way back from 2002 to 1989, letting the audience see the choreographer’s development—but in reverse. First on the bill is 27’52” with its stark set, authoritative music and unusual poses. The title of the work refers to its length, but the force supplied by both the movement and the music draws the viewer in, making it feel much shorter.

The flooring is used in different ways here—sometimes as a cover or wrap for a particular dancer, other times as the impetus for the movement itself. Once it even pulls a dancer along the stage, resulting in a forceful type of floating motion—which is oddly compelling.

Kylián uses the spoken word throughout the work, which in and of itself isn’t particularly unusual, but the fact that the recorded voices are those of the original cast gives it a deeper layer, tying past to present dancers each time it is performed.

Petite Mort is the next Kylián work, and it is an audience favorite. The beginning presents a striking image, with six men on stage maneuvering six foils and six women standing in the shadows behind them looking on. Gender roles are on display front and center here, with the men brandishing weaponry and the women darting in and out from behind voluminous black dresses that slide across the stage on wheels. Although most sequences are danced expertly by the company, the eroticism does at times translate more as a series of poses and steps to be executed rather than raw, visceral movement.

Hubbard Street Dancer Johnny McMillan in Sarabande by Jiří Kylián, with Jason Hortin, left, and Jonathan Fredrickson . Photo by Todd Rosenberg. — Hubbard Street Dancer Johnny McMillan
in Sarabande by
Jiří Kylián, with
Jason Hortin, left, and Jonathan Fredrickson
Photo by Todd Rosenberg.

Sarabande begins with a literal bang as six men lay stretched out on the floor, slapping their arms down in unison, as if demanding attention. The women’s gowns are back on display again, but this time they are heavily decorated, hovering over the men–empty–almost haunting. The men roll through a series of postures and poses, ranging from primal, manly screams in unison—to little boys peering at something interesting on the ground.

They dance at times with shirts up around their heads, reminiscent of a miniature Martha Graham costume from Lamentation, and other times with pants down around their ankles. A series of short robust solos is the highlight here, very well executed and supremely powerful.

Falling Angels is the final work of the evening and it features live accompaniment by the steady hands of Third Coast Percussion. While the men of Sarabande seem to alternate between singularity of focus and camaraderie, Falling Angels is a multitasking, tribal marvel. This piece was perhaps the best suited to Hubbard Street, as the women of this company are fierce dancers who hold nothing back.

The choreography is at once aboriginal and contemporary, alternating between African dance movements and a scattershot series of expressions of modern femininity. The women moved in strength—rotating very quickly between shy, sexy, hurried, self-conscious and powerful poses and movements.

Hubbard Street performs at the Harris Theater through March 16th.

Emotions In Motion: Hubbard Street Dance Chicago – Fall Series

October 12, 2013 by 4dancers

by Catherine L. Tully

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 while managing to be fresh and interesting rather than showy and overdone.

Hubbard Street Dancer Emilie Leriche and ensemble in Fluence by Robyn Mineko Williams. Photo by Quinn B Wharton.

Fluence was the first piece of the evening, a Chicago premiere by choreographer (and former Hubbard Street dancer) Robyn Mineko Williams. It begins with mechanical, twitchy movements that evolve and alternate with primitive, low-to-the-ground choreography. It’s as if one is watching futuristic robots that have feelings—like characters from the 1982 movie Blade Runner—but better.

Costumes by Hogan McLaughlin seem to support the idea of an almost “sewn together” look—bodies (prototypes?) in different phases of evolution. The dancers really seemed to embrace and understand the mannequin-like motions that are juxtaposed with visceral, human movements. Even with the lighthearted bubbles that cascade down at the end of the piece, the overall feel is one of melancholy.

Hubbard Street Dancers Ana Lopez, left, and Jacqueline Burnett in Cloudless by Resident Choreographer Alejandro Cerrudo. Photo by Todd Rosenberg.

Next up was Cloudless, a duet for two women by resident choreographer Alejandro Cerrudo. This world premiere was tender and intimate without being soft and sweet. Cerrudo relegates the audience to voyeur status as the women look deep into each others eyes, touch and slow dance, proving yet again that he is a master of creating strong intimacy through movement.

Cerrudo knows how to choreograph a duet that doesn’t look like it was made for a man and a woman and Jacqueline Burnett and Ana Lopez were able to convey the power of their bond without losing a shred of their femininity.

Hubbard Street Dancers Kellie Epperheimer, left, and Johnny McMill an in Passomezzo by Ohad Naharin. Photo by Todd Rosenberg — Hubbard Street Dancers Kellie Epperheimer, left, and Johnny McMillan in
Passomezzo by Ohad Naharin. Photo by Todd Rosenberg.

While Cloudless explores a more progressive approach, Ohad Naharin’s Passomezzo instead tips the hat to times gone by. Dancers Kellie Epperheimer and Johnny McMillan move with passion to a variety of selections from The Beggar’s Opera.

It soon becomes apparent why knee pads are part of McMillan’s simple costume—the choreography is not for the timid. From behind he repeatedly grasps and pulls her back hard on top of him while they sit on the ground—as if she is a boat that he is rowing frantically toward some crucial destination. She stands–balancing on his chest again and again. They drop to the floor and take turns running on their knees. They polka. They pace. And while the choreography may seem a bit of a whirlwind, it somehow works all jumbled up together–mirroring the emotional roller coaster that colors many a long-term relationship.

Hub bard Street Dancer s Ana Lopez, left, and Alejandro Cerrudo in Casi - Casa by Mats Ek. Photo by Todd Rosenberg. — Hubbard Street Dancers Ana Lopez, left, and Alejandro Cerrudo in Casi-Casa
by Mats Ek. Photo by Todd Rosenberg.

After the myriad of passionate feelings that are explored in Passomezzo, the start to Casi-Casa offers a bit of welcome comic relief before exploring any deeper. With a smart set design by Peder Freiij that consists of a door, a stove and a chair, this Mats Ek creation was danced with far more authority than the last time the company performed it on the same stage. Exquisite music by Fleshquartet adds a heartbreaking depth to the duets, and it rings out like an anthem as five women defiantly step dance their way through household chores with a canister vacuum in tow.

Hubbard Street’s Fall Series continues at the Harris Theater through Sunday, October 13th.

Here We Grow

August 19, 2013 by 4dancers

Hubbard Street 2 Dancers Katie Kozul, left, and Lissa Smith in Flipped Script by Alicia Delgadillo. Photo by Quinn B Wharton

by Lissa Smith

The end of Hubbard Street 2’s 2012–13 season was jam-packed. We had two full weeks of danc(e)volve: New Works Festival at the Museum of Contemporary Art with my family visiting Chicago for the shows, then rehearsals and preparation for our Inside/Out Choreographic Workshop. I had a teaching schedule to prepare for the Hubbard Street Summer Intensive in Iowa City and summer plans to coordinate for my time off-contract. When the last danc(e)volve performance came to an end in mid-June, I said goodbye to my family, hopped in a cab, and headed back to my apartment to pack my bag for a flight to Iowa at 6:15 the next morning.

At the airport, I sat at the gate with a coffee in one hand and my iPad in the other. So many thoughts were racing through my mind, at such an early hour! Going away to a dance intensive is something I have done every summer since I was 12 years old, so the excitement and apprehension were familiar to me — only this time, I was nervously anticipating being on the faculty roster and calling roll. Every trip I took for summer study was a life-changing experience and so I wanted my students to leave Iowa at the end of the Intensive with new insights, magical memories and renewed passion for dance.

In my mind, I “ran through” choreography that I planned to teach. I was confident that the students would enjoy learning Hubbard Street repertory. I would work with them on Jacqueline Burnett’s and David Schultz’s solos from Recall by Robyn Mineko Williams; time permitting, I also hoped to teach a brief section from Strides by Norbert De La Cruz III, one of last year’s winners of our National Choreographic Competition.

I figured having the students learn selections from Recall and Strides would be great because of the works’ opposing qualities. Recall’s score is electronic, having almost a “club” kind of feel, while Strides is set to more dramatic orchestral music. Likewise, their movement proposes different ideas and has different “rules.” In Recall, there is room for individual interpretation and play, musically and physically; Strides has set musical counts for its choreography and requires its entire cast to dance as one, often in unison.

After arriving and checking into the hotel, I packed my dance bag and walked over to a studio at the University of Iowa, which hosted the program, for my first rehearsal with Summer Intensive students. I stopped in the doorway and thought, Here we grow! Little did I know how true these three words would ring through the following weeks.

Hubbard Street 2013 Summer Intensive students and faculty at the University of Iowa. Photo by Benjamin Wardell

This year’s Hubbard Street Summer Intensive was divided into two sets of 14- to 17- year-old dancers, assigned to groups named Blue and Green. I took attendance and think I managed to mispronounce only about a quarter of their names — not too bad for day one.

We got right to work and all of the dancers were focused, hardworking, driven and open. Since auditions are required to attend our summer program, I was not at all surprised by the level of talent of the students, and I was so pleased with all that we accomplished in a single day. The hopes and goals the dancers brought with them seemed the same as the ones I had for myself: to have fun, be open, absorb, give and learn as much as I could — to grow in every way possible. Teaching passionate students is both a privilege and a pleasure! I felt so lucky to be able to guide the students during their first week in Iowa City, and looked forward to returning for their final week and showings at the end of the program, although I couldn’t have guessed just how fulfilling this would be on a personal level. Week one was over in seemingly no time at all. Once again I was packing a bag.

I traveled to Chicago to rehearse for Inside/Out and thought about my students often while back in Hubbard Street’s studios. The two performances of the choreographic workshop went great. Having the opportunity to work so closely with fellow company members on their own experiments in dance is a joy and refreshing. Once the performances concluded, I filled my suitcase again and headed back to Iowa City.

My task was to rehearse and “clean” the Recall choreography I’d taught for the showings as well work on the students’ modern technique demonstration. I was unprepared for the amount of growth that had occurred while I was away, and the level of intensity with which the students inhabited their material. The pride I felt for them was incredible — Maybe like what a parent feels for her child, I thought. They took ownership of all I had taught them, each dancer far surpassing all of my expectations, putting personal stamps on their progress for their friends and family members to see. I hope these dancers carry this culmination of joy and growth through their coming year of training, to next summer’s studies and beyond.

For me, the Summer Intensive embodies exactly what makes Hubbard Street Dance Chicago so special. Hubbard Street dancers are strong, diverse, unique — and always learning. Every moment in the studio and onstage is supercharged with passion and talent melded together and shining with individuality. We arrive at the studios each day ready to explore and grow. Our Summer Intensive students lived up to those high standards and embraced everything that they were taught; to those who are reading this, I say Thank you, and #dothelissa. I’ll explain: the hashtag came about in my rehearsals and as you can see in this panorama, became something of a sensation. Go ahead and put your foot in your hand, and #dothelissa yourself! I’ll keep an eye out for your photos.

Beginning August 26, Lissa Smith begins her third season with Hubbard Street 2, joining fellow returning members, promoted HS2 Apprentices Jules Joseph and Katie Kozul, and new dancers Andrea Thompson, Odbayar Batsuuri and Adrienne Lipson. Catch HS2 onstage this year in Chicago, New York City, Michigan, Pennsylvania and Virginia, plus Canada, Germany and additional locations. Visit hubbardstreetdance.com for a complete touring schedule, artist profiles and more.

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.

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

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.

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