Review: Spring Series – Four Works by Jiří Kyliáns (Hubbard Street Dance Chicago)

  
  
Spring Series:
   Four Works by Jiří Kyliáns

Choreography by Jiří Kylián 
at Harris Theater, 205 E. Randolph (map)
thru March 16  |  tickets: $25-$99   |  more info
  
Check for half-price tickets 
  
  
   Read review 
  

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Beautiful execution of unique style

Hubbard Street Dance Chicago presents

Spring Series: Four Works by Jiří Kylián

Review by Lauren Whalen 

Jiří Kylián is the first choreographer to receive a full repertory program in Hubbard Street Dance Chicago history. Since founder Lou Conte first brought the choreographer’s work to Hubbard Street, the always-brilliant and edgy company has been building this repertoire for some time (according to program interview with Artistic Director Glenn Edgerton).  Watching four of Kylián’s pieces, it’s easy to see his unique, distinctive style and, as always, the dancers execute with flawless, fluid strength that is their trademark. While not always pleasing, this Spring Series is important, often overthrowing tradition for something far more challenging, artistic and memorable.

Kylián’s work is intelligent, an active experience for the audience. Rather than sit back and let the steps wash over you, spectators are forced to think and question (don’t worry…..not out loud) about what each choice means. Because whether it involves the men of Hubbard Street screaming or freestanding dresses without bodies in them, everything is intellectual and deliberate. The choreographer is also involved in costume design, lighting concept and sound, leaving nothing to chance. It’s clear from the way Hubbard Street dancers relish each move, they’re eager for any challenge thrown their way.

For me, the four Kylián pieces are a mixed bag. All are interesting and thought-provoking; only two are truly enjoyable. The first, and longest, piece of the evening is 27’52”. So named because of its running time (27 minutes, 52 seconds), it’s the program’s most distinctive dance, incorporating long sheets of flooring into the choreography. Six male and female dancers, clad only in black pants and solid color tops on the women, 27’52” incorporates texts from everyone from Baudelaire to Bruce Lee, recorded in multiple languages by the original cast and cut with original work from German composer Dirk Haubrich. The steps themselves are very physical, with running, pushing and pulling beginning before the lights even go down in the auditorium. The piece is intricate and fascinating, though at times overly busy.

I had a similar reaction to “Sarabande”, the third dance of the evening. Created by Kylián in 1990, “Sarabande” is for six men and is set to Bach, with electronically manipulated sound supplemented by the dancers’ bodies and vocals. The choreography itself is gorgeous, the score quite the opposite. I appreciated Kylián’s effort to juxtapose, but that didn’t make the 20-minute act any easier on my ears.

 

“Petite Mort”, an established Kylián piece in the Hubbard Street repertoire, appears before the second intermission. “Petite Mort” is perhaps one of my favorite dances to see the company perform. The sheer erotic energy is evident in everything from the Mozart piano concerto, to the near-nonexistent costuming showcasing each well-toned muscle, and the elastic shapes formed by the dancers. How can you not feel every inch of the piece’s title? (Translated to “little death”, it’s a French euphemism for orgasm.)

“Falling Angels” ends the evening on a palatable note. The female counterpart to “Sarabande” features eight dancers and live music – a phased-percussion composition joyfully executed onstage by Third Coast Percussion. Kylián’s lighting design concept plays with spotlight and shadow and the dancers are simply clad in black leotards. The result is a gorgeous combination of energetic and hypnotic, a celebration of what the body can do.

Even when the program has its challenges, Hubbard Street dancers are always breathtaking. Like ethereal creatures of the night, they glide across the stage, and bend, twist and leap with aplomb. The company is a long-revered force in modern dance, and with good reason. They never stop challenging, growing and changing, while retaining a heavenly air of flawless grace.

Rating: ★★★

Spring Series continues through March 16th at Harris Theater at Millennium Park, 205 E. Randolph (map).  Tickets are $25-$99, and are available by phone (312-850-9744) or online through their website (check for half-price tickets at Goldstar.com). More information at HubbardStreetDance.com.  (Running time: 2 hours 10 minutes, includes 2 intermissions. Please note:  27’52”” contains partial nudity.)

Photos by Todd Rosenberg 

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artists

cast

Note: cast varies according to performance.

Hubbard Street Dance Chicago: Garrett Patrick Anderson, Jesse Bechard, Jacqueline Burnett, Alejandro Cerrudo, Meredith Dincolo, Kellie Epperheimer, Jonathan Fredrickson, Jason Hortin, Alice Klock, Emilie Leriche, Ana Lopez, Johnny McMillan, Andrew Murdock, Bryna Pascoe, David Schultz, Kevin J. Shannon, Jessica Tong, Quinn B. Wharton

Hubbard Street 2: Brandon Lee Alley, Jules Joseph, Katie Kozul, Lissa Smith, Andrea Thompson, Richard Walters, Odbayar Batsuuri (Apprentice), Adrienne Lipson (Apprentice)

Live music for “Falling Angels” is performed by Third Coast Percussion (Sean Connors, Robert Dillon, Peter Martin, David Skidmore)

behind the scenes

For Hubbard Street Dance Chicago: Glenn Edgerton (artistic director), Jason D. Palmquist (executive director), Terence Marling (director, Hubbard Street 2), Lucas Crandall (rehearsal director), Kristen Brogdon (general manager), Alejandro Cerrudo (resident choreographer), Claire Bataille (director, Lou Conte Dance Studio), Kathryn Humphreys (director, Education, Youth, and Community Programs), Lou Conte (founder)

For Spring Series: Jiří Kylián (choreography), Roslyn Anderson, Urtzi Aranburu (repetiteurs), Joost Biegelaar (lighting design reconstruction), Dick Schuttel (sound design reconstruction)

For 27’52”:

Jiří Kylián (choreography, décor, set design), Glenn Edgerton and Urtzi Aranburu (staging), Dirk Haubrich (music), Kees Tjebbes (lighting design), Joke Visser (costume design)

For “Petite Mort”:

Jiří Kylián (choreography, set design, lighting design concept), Roslyn Anderson (staging), Wolfgang Amadeus Mozart (music), Joop Caboort (lighting design realization), Joke Visser (costume design)

For Sarabande:

Jiří Kylián (choreography, set design, lighting design concept), Glenn Edgerton and Urtzi Aranburu (staging), Johann Sebastian Bach (music), Dick Heuff (electronic arrangement), Joop Caboort (lighting design reconstruction)

For Falling Angels:

Jiří Kylián (choreography, lighting design concept), Roslyn Anderson (staging), Steve Reich (music), Joop Caboort (lighting design realization), Joke Visser (costume design)

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