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.
The venerable Chicago dance company got a creative boost from across the pond for the closing show of its season. Meet the Brit who made his own Britney Spears video and is now working with the Joffrey Ballet.
Three very different productions that recently opened on Chicago stages serve as a powerful reminder of the dramatically varied ways in which the language of dance can be spoken.
Now receiving its Chicago debut, this full-length fairy tale production created for American Ballet Theatre is a frothy, visually lavish confection sure to generate either a light-headed sugar rush or a serious sugar coma.
Fearsome choreography, dazzling dancers and innovative sound and music marked the Chicago debut of Gauthier Dance in a stunning program at the Harris Theater.
“Stomp!” based its show on the notion that you can make a joyful noise with everything from brooms to kitchen sinks. Mayumana builds on that concept with some great bolts of 21st century electrification.
From the performers’ dazzling technical skill and emotional conviction to the sophistication and complexity of each choreographer’s work, this program of four world premiere works was remarkable on many levels.
Alvin Ailey American Dance Theater returns to Chicago with three different lineups, including an opening program that captures its illustrious history with an absolutely fascinating, generation-shifting juxtaposition of two pieces.
A stunning program interlaced the formidable talents of dancers and choreographers from each company, suggesting that the two, if not quite identical twins, are the very closest of kissing cousins, different only in some distinctive rhythmic impulses.
Akram Khan’s “Giselle” is a hypnotic stunner that injects a primal scream into a story of romantic betrayal and class warfare whose mystical element has long captivated audiences.