Clad in skin-tight black nylon bodysuits, River North Dance Company’s sleek dancers took the stage. With soft, fluid movements they launched into “Reality of a Dreamer,” originally choreographed in 1992 by co-artistic director Sherry Zunker. Then, suddenly, the familiar low, dark notes of The Eurythmics’ classic “Sweet Dreams” kicked in.
The ensemble cast burst with energy, and controlled their bodies with precise and strong movements. The staging changed kaleidoscopically, and a soloist, looking very much like the pop star Pink, screamed the lyrics with her body.
The performance, given Sunday, is just one part of Dance Chicago 2003, which presents new works and old classics from more than 200 renowned dance companies and independent choreographers. Up to 20 companies appear in a single performance. The eclectic genres range from hip-hop to classical ballet to world championship-caliber ballroom dancing, and appeal to a wide audience. Children with their parents, aspiring young dancers, devoted patrons, dance insiders and dance greats all make it their duty to attend Dance Chicago every year.
River North, which is celebrating its 13th anniversary this year, fits right in.
“We wanted to create a company that made you feel something, whether it was passion, sadness or laughter,” said River North co-founder and advisory board member Karen Frankel Jones. “Whatever it was we wanted to move people. We want audiences to connect.”
Dance Chicago also has close ties to Northwestern; three faculty members of NU’s dance department have works running throughout Dance Chicago. Professor Billy Siegenfeld’s company Jump Rhythm Jazz Project will perform the rhythmic and theatrical works the company is known for in the Jazz Rhythms program on Nov. 28 and Nov. 29.
Assistant Professor Joseph Mills, with his company Mills/works, performed a solo Sunday called “Circle Walker” that quite literally stunned the audience. The piece involved Mills dancing with an enormous metal sculpture of a twisted circle. He flew across the stage, holding onto the rolling structure and weaving in and out of its beams. Gasps emanated from the crowd as Mills’ stunts got more and more daring.
“How’d he do that!? Wow!” echoed the chatter throughout the theater when the curtain fell.
Adjunct faculty member Melissa Thodos’ company Melissa Thodos & Dancers presented a highlight of the production called “Miracle Interrupted.” The piece was full of emotion and highly athletic, as the ensemble tried to literally tear two lovers apart. Throughout the piece, the dancers also used sign language as silent screams.
Evanston’s very own Gus Giordano Jazz Dance Chicago performed an upbeat, snappy, Broadway-inspired rendition of “Sing, Sing, Sing” set to Louis Prima’s classic music of the same name. Two female dancers wearing black suits with bright white bow-ties and gloves with smiles ear-to-ear performed the quick and technically demanding steps flawlessly and in total syncopation.
A definite crowd-pleaser was an original piece by ballroom dancing world champions Gregory Day and Tommye Giacchino, recognizable from PBS broadcasts of ballroom dance competitions. Giacchino’s long legs and short platinum blonde hair are unmistakable, as is Day’s strength, seen in his ability to make Giacchino fly in impressive lifts that seem to literally defy gravity.
An important aspect of Dance Chicago is the opportunities it gives to up-and-coming Chicago choreographers in the Choreography Project, which began in 2002. The project pairs choreographers skilled in one type of dance — like modern or jazz — with a company that performs another.
“We believe it is the only program of its kind in the country,” said Chicago Community Trust senior advisor Sarah Solotaroff. “An exciting and unexpected result of the Choreography Project was that two of last year’s pieces were incorporated into the repertoire of the companies the choreographers worked with.”
The artistic goals are lofty as well, according to Dance Chicago co-founder and artistic director John Schmitz. “In making the pairings, I want to challenge both the choreographers and the companies to work outside their comfort zone, enhancing the creative experience for all involved,” he said. And ultimately at Dance Chicago, that’s what it’s all about.
