Now in their second season at Chicago’s new Joan W. and Irving B. Harris Theater for Music and Dance, 205 E. Randolph Dr., Hubbard Street Dance Chicago has finally found its home. The sleek, modern look of the theater, which is situated directly behind Millennium Park’s stunning Frank Gehry-designed Jay Pritzker Pavilion, creates the perfect environment to experience Hubbard Street’s jaw-dropping works.
The dancers leap, spin and playfully interact to African beats, Spanish guitar, and yes, even Mick Jagger’s raspy voice. The three programs going up in Hubbard Street’s “Superstar Season” present works from both local and internationally renowned choreographers and feature the company’s 21 seemingly virtuosic dancers.
As a company, Hubbard Street is finally coming into its own under the artistic direction of Jim Vincent, now in his fifth year with the company. Vincent’s unrelenting effort to maintain relationships with past Hubbard Street choreographers and with new choreographers making their mark on the international dance scene has helped shape Hubbard Street’s edgy and contemporary look. What remains undoubtedly intact is the company’s integrity and its willingness to adopt the flavors and nuances of a given choreographer’s work. The dancers are able to transition seemingly from African-inspired lyrical movements to sexy 1960s bumps and grinds.
“We are still doing a mixture of styles and maintaining an eclectic profile, yet Jim might be delving a little deeper into the edge,” says Gail Kalver, the company’s executive director. “The Broadway pieces that we used to do have shifted to a more subtle approach to popular works. (Jim) is keeping within the same tradition and artistic profile of the company but he’s putting his own spin on it.”
One of the five premieres in “Superstar Season” is “Gnawa,” an emotional spectacle choreographed by internationally recognized Spanish choreographer Nacho Duato. Duato sets his piece to both raucous and serene African drums and the sensual strums of a Spanish guitar.
“A certain chemistry needed to happen (in ‘Gnawa’) with all of the elements,” Vincent says. “And it came together so well.”
The beautiful group movements are punctuated by stunning, gravity-defying duets. The two featured dancers, clad bravely in nude-colored body suits, are captivating. The male, company member Tobin Del Cuore in this performance, lifts, twirls and physically manipulates company member Penny Saunders with ease. Their bodies intertwine in balletic duets where extensions and awe-inspiring lifts are executed as if the movements are as effortless and as natural as walking.
“Rooster” premiered to rave reviews in 2004 and is back for this year’s spring engagement. The piece, choreographed by Christopher Bruce, is set entirely to Rolling Stones music. “Rooster” opens theatrically with men in suits acting slick, suave and, as the piece’s name suggests, cocky. The Stones’ “Little Red Rooster” blares throughout the theater. “Rooster” pairs a balletic solo with “Ruby Tuesday, ” a sexy pas de deux with “Lady Jane,” and an energetic ensemble piece with “Sympathy for the Devil.”
With such a physically demanding repertoire, Hubbard Street dancers and choreographers must be prepared for everything. Vincent says there are two and sometimes even three alternate casts for each of the nine pieces in the “Superstar Season.” Having multiple casts can also have artistic benefits. “We want to keep the pieces as distinctive as possible,” Vincent says. “With two or three casts, dancers can watch the pieces objectively. It’s important for the dancers to get that perspective and see the big picture.”
The “Superstar Season” runs through April 17. Programs will differ depending on the performance date. Tickets are $20-$75 and are available at hubbardstreetdance.com or at www.tickets.com.4
Medill junior Rachel Wolff is the PLAY theater editor. She can be reached at [email protected].
