Chicago’s dance card is full to bursting. And one of the city’s most beloved “visitors” – the Alvin Ailey American Dance Theater – is now drawing its usual huge crowds to the Auditorium Theatre.
Chicago native Solomon Dumas is one of 32 dancers in the national touring company of Alvin Ailey American Dance Theater. This week, he performs at the Auditorium Theatre, where he first saw the company nearly 20 years ago.
A coming change of venue for the Joffrey Ballet is a major shift, and its initial opening season will be of great importance, especially since it also will mark the 25th anniversary of the Joffrey as a formidable Chicago cultural institution.
Throughout its history, the Joffrey Ballet’s dancers have been renowned for their ability to create characters as well as to put their superb technical skills to work. They also are capable of carrying over their acting ability to contemporary “plotless” works.
Two questions invariably come to mind when I see Deeply Rooted Dance Theater: Why is this company not more famous? And why isn’t it championed as Chicago’s counterpart of the Alvin Ailey Dance Theater?
This highly original reimagining of the classic holiday tale is a monumental production both in its storytelling and its design, yet it manages to beautifully interweave its grand scale elements with human scale emotions.
Eight of the city’s most prominent dance companies are coming together for a one-night-only concert this week with a single mission: to celebrate the legacy of black dance in Chicago.
British choreographer Cathy Marston’s enthralling production of “Jane Eyre,” is now being performed with stellar artistry and deep emotional insight by the Joffrey Ballet even though not a single word is spoken throughout the performance.
In “Jane Eyre,” Cathy Marston said she creates movement based on quotes taken directly from Charlotte Bronte’s 19th century novel.
The City of Chicago and the League of Chicago Theaters declared 2019 “The Year of Chicago Theatre.” But anyone who has been following dance in Chicago in recent years will attest to the fact that it is now time to declare a “Year of Chicago Dance.”
As highly animated as the show might be, “Lil Pine Nut: The Learning Curve of Pinocchio” is no Disney-style version of a universally popular story.
This year’s gala concert was in many ways the sharpest production to date, with bravura performances by Giordano Dance Chicago, the Chicago Human Rhythm Project, Chicago Dance Crash and a slew of others.
As a teen, Charlie Grass was Bob Fosse’s dance partner. Now at age 91, he’s teaching their old routines to young Chicago dancers.
Cirque du Soleil has visited Chicago every other year since 1989. This year, for the first time, the internationally minded “Circus of the Sun” features a performer with local roots. Meet Kevin Beverley.
The titles of the four pieces provide a telling suggestion of the psychologically probing works being performed with the company’s trademark blend of uncanny fluidity, plasticity, control and ensemble perfection.
Watching the company as it performed Boris Eifman’s latest work, the feeling that his dancers are not well served by his relentlessly madhouse style of movement – manic, extreme, repetitive – could not be denied.