danc(e)volve: New Works
Directed by Taryn Kaschock Russell
and Terence Marling
at MCA Stage, 220 E. Chicago (map)
thru Jan 29 | tickets: $28-$35 | more info
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‘danc(e)volve’ a breathtaking celebration of movement
Hubbard Street Dance and Museum of Contemporary Art presents
dance(e)volve: New Works Festival
Review by Lauren Whalen
When a Hubbard Street dancer moves, the audience forgets to breathe. In their
danc(e)volve: New Works Festival, the acclaimed company collaborates with the Museum of Contemporary Art to premiere the latest works of emerging choreographers. Who needs words? Through nine original pieces in two alternating programs, danc(e)volve reminds us of all the magnificent things a body can do: turn, stretch, leap, storytell and captivate.
The program’s five distinct modern dances, choreographed and performed by dancers and directors from Hubbard Street Dance Chicago and Hubbard Street 2 plus one guest artist, vary greatly in score, style and inspiration. According to the program notes, Johnny McMillan’s sextet “Paths and Observations” was inspired by the image of “a little nomad girl in a parka” and a Scandinavian culture of indigenous reindeer herders. In sharp contrast to the former’s simple emotions, Robyn Mineko Williams’ “Recall” uses a brick wall and plays with lines and patterns to explore different points of view of a single encounter. Lighting
But the star of danc(e)volve is “Never was.” Conceived by Hubbard Street Resident Choreographer Alejandro Cerrudo, the gorgeous duet uses the music of Handel and Purcell and almost extreme physicality to conjure an experience of cohesion and dissonance. Though the piece is not religious, I felt I was in the presence of pure holiness: silence fell over the already-awed crowd as dancers Emilie Leriche and Johnny McMillian came together and moved apart with precision and elasticity to the thrilling classical music. Matt Miller’s moody lighting and Branimara Ivanova’s exquisitely simple costumes gracefully supplement the piece, and its haunting final tableau leaves the audience wanting more.
Each dance brings something special: McMillan’s “Paths and Observations” combines animalistic instinct and human intellect as the dancers mimic reindeer and throw themselves – and each other – on the ground with abandon. In “Recall,” choreographer Williams manipulates her cast to march and move in increasingly complicated patterns that symbolize the complexities of perception. The shadows of the dancers on a giant brick wall added a beautifully sinister overtone. Lighting designer Miller’s stained-glass window image threatened to steal the show in “Untitled Landscape” – thankfully Frederickson’s intricate movements gave the dance a lovely cohesion. And rounding out the show is the darkly humorous “Bonobo.” Inspired by vaudeville shows of the 1920’s and ‘30’s, the piece highlights the joys of performing, the drama of backstage and the gritty lifestyle and determination unique to traveling hoofers.
There’s nothing more exciting than watching artists on the rise. With danc(e)volve, Hubbard Street Dance Chicago prove the art form is constantly changing in groundbreaking ways. Rules are broken. Conventions are thrown out the window. And lines, steps and stories are born, right before our eyes.
Note: the above review is of program A, which will be presented January 28- 29. Program B is performed January 26-27 and features “…and other stories of imperfection,” “Facets of the Same,” “The Fantastic Escape of the Little Buffalo” and “thrice.” Alejandro Cerrudo’s piece “Never was” is part of both programs. Performances through January 22 are sold out, but in light of this weekend’s weather it might be worth sticking around in case of no-shows.
Rating: ★★★★
danc(e)volve: New Works Festival continues through January 29th at MCA Stage, 220 E. Chicago (map), with performances Thursdays-Saturdays at 7:30pm. Tickets are $35 ($28 for MCA members), and are available by phone (312-397-4010) or online here. More information at MCAchicago.com. (Running time: 1 hour 10 minutes, with one intermission)
All photos by Todd Rosenberg
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