Hubbard Street Dance Chicago Spring Series: RE/CONNECT Program B, Season 44

Linda-Denise Fisher-Harrell, Artistic Director David McDermott, Executive Director

PROGRAM B MARCH 9–13, 2022

PROGRAM B FEATURING

Jardí Tancat by Nacho Duato The Seen by Jermaine Maurice Spivey Dichotomy of a Journey by Darrell Grand Moultrie

Performing at

Welcome to Spring Series: RE/CONNECT Thank you for joining us for this moment of reconnection! If the Fall Series at the Harris Theater was about our return to live performance, our Spring Series RE/CONNECT is our chance to deepen our relationship with you—the audience— and further demonstrate the limitless range of Hubbard Street Dance Chicago. The intimate Edlis Neeson Theater here at the Museum of Contemporary Art is the perfect venue for this exciting array of world premieres, new choreographers, and returning artists.

We hope you enjoy the program you are about to witness. Whether you’re experiencing a piece for the very first time, or here for an encore presentation of one of the pieces from the fall, you are sure to notice something in a new way or experience a piece differently. Embrace that feeling of newness. We look forward to your feedback—whether that be in a post-show survey, conversation, or even if you are moved to react during the program. Thank you for coming!

Yours in motion, Linda-Denise Fisher-Harrell, Artistic Director

AMY HALL GARNER’S WORLD PREMIERE COMMISSION IS SUPPORTED IN PART BY Camille E. Rudge Liza Yntema

THANK YOU TO OUR SEASON PARTNERS

RE/CONNECT WITH THE MCA After the performance, pick up a complimentary Museum

Pass from Coat Check to return another day and enjoy everything the MCA has to offer! You may also show this RE/CONNECT program at the MCA Admission Desk, which will be valid for free entry for two visitors until April 15, 2022.

Linda-Denise Fisher-Harrell. Photo by Frank Ishman. Cover: Hubbard Street Dancer Andrew Murdock. Photo by Paul Octavious, styling by Hogan McLaughlin.

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LAND ACKNOWLEDGEMENT We acknowledge that Hubbard Street Dance Chicago resides within the unceded, traditional homelands of many Indigenous Nations—The Council of the Three Fires: the Potawatomi, Odawa, and Ojibwe Nations; the Illinois Confederacy: the Peoria and Kaskaskia Nations; and the Myaamia, Wea, Thakiwaki, and Meskwaki Nations. The Ho-Chunk, Menominee, Kiikaapoi, and Mascouten Nations also call the region of northeast Illinois home. Hubbard Street Dance Chicago recognizes that this land was founded upon exclusions, erasures, and genocide of these Indigenous people. We ask you to join us in recognizing the past, present, and future generations of these Indigenous Nations.

Learn more about the land we occupy:

www.native-land.ca.

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Jardí Tancat Nacho Duato, Choreography María del Mar Bonet, Music Nacho Duato, Set Design Nacho Duato, Costume Design Nicolás Fischtel, Lighting Design Jim Vincent, Staging “Water, we asked for water; And You, oh Lord, You gave us wind; And You turn Your back to us; As though You will not listen to us.” This appeal is portrayed in the powerful movements of three couples, who are occupied with the sowing, planting, and threshing of the barren Catalonian land.

Dancers: March 9, 11, 12 Jacqueline Burnett Alyssa Allen Alysia Johnson

Craig D. Black Jr. Kevin J. Shannon Andrew Murdock

March 10, 13 Michele Dooley Simone Stevens Alexandria Best

Elliot Hammans David Schultz Adam McGaw

Music by María del Mar Bonet: “Cançó D’Es Collir Olives,” “Cançó D’Esterrossar,” and “Fora D’Es Sembrat,” from the album María del Mar Bonet, “Tonada De Treure Aigo,” from the album Saba de Terrer, “La Canço de Na Ruixa Mantells,” from the album Jardí Tancat, courtesy of Sony Music Entertainment. Carlos Iturrioz c/o Mediart Producciones SL (Spain). © …NACHO DUATO, all rights reserved.

15-MINUTE INTERMISSION The Seen Jermaine Maurice Spivey, Concept & Direction Jermaine Maurice Spivey with collaboration with the Dancers of Hubbard Street Dance Chicago, Choreography Jermaine Maurice Spivey and the Dancers of Hubbard Street Dance Chicago, Music Jermaine Maurice Spivey, Text Jordan Ross, Costume Design Laurel Shoemaker*, Lighting Design I’ve been thinking about Us, and how to practice leaning in and listening to one another when we don’t understand. How do we practice observing the ways we think and pay attention, so we can better understand the why and how we respond to one another? The Seen, to me, is a performative reflection on what doing that work could look, feel, and sound like.

Dancers: Alyssa Allen, Alexandria Best, Craig D. Black Jr., Jacqueline Burnett, Michele Dooley, Michael Garcia, Elliot Hammans, Alysia Johnson, Adam McGaw, Andrew Murdock, Abdiel Figueroa Reyes, David Schultz, Kevin J. Shannon, Simone Stevens

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15-MINUTE INTERMISSION Dichotomy of a Journey Darrell Grand Moultrie, Choreography Ezio Bosso, Dmitri Shostakovich, V. Michael McKay, Nils Oliver Frahm, Donald Lawrence, Music Branimira Ivanova, Costume Design Michael Mazzola, Lighting Design From this moment and beyond: May we continue to live with vitality, connection, vision, community, and most importantly, self-encouragement. —Darrell Grand Moultrie Dancers: Vitality—The Company.

Interlude—Alyssa Allen.

Connection—Jacqueline Burnett, David Schultz.

Interlude—Adam McGaw. Vision—Andrew Murdock (3/2, 3/5, 3/10, 3/12), Alysia Johnson (3/3, 3/6, 3/11), Michael Garcia (3/4, 3/9, 3/13).

Community—Alyssa Allen, Craig D. Black Jr., Jacqueline Burnett, Michele Dooley, Elliot Hammans, Adam McGaw, Abdiel Figueroa Reyes, David Schultz, Kevin J. Shannon, Simone Stevens.

Resilience—Alexandria Best, Craig D. Black Jr., Michael Garcia, Abdiel Figueroa Reyes, The Company.

Music: String Quintet N. 2 “The Nights”: I’m Born Child (African Skies) by Ezio Bosso, performed by Ezio Bosso, Turin String Quartet; Piano Concerto No. 2 in F Major, Op. 102: II. Andante by Dmitri Shostakovich, performed by Dmitri Shostakovich, I Musici de Montréal, Maxim Shostakovich; In My Dreams by V. Michael McKay, performed

by Daryl Coley, produced by Hal Sacks, Daryl Coley; My Friend the Forest by Nils Oliver Frahm, performed by Nils Frahm, produced by Nils Frahm; Encourage Yourself – Live by Donald Lawrence, performed by The Tri-City Singers, produced by Donald Lawrence. *United Scenic Artists, Local USA 829 of the IATSE is the union representing Scenic, Costume, Lighting, Sound, and Projection designers in Live Performance

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CHOREOGRAPHER PROFILES NACHO DUATO Nacho Duato, born in Valencia, Spain, started professional ballet training with the Rambert School in London at eighteen, expanding studies at Maurice Béjart’s Mudra School in Brussels and completing his dance education at The Alvin Ailey American Dance Centre in New York. In 1980 Duato signed his first professional contract with the Cullberg Ballet in Stockholm and a year later Jirí Kylián brought him to the Nederlands Dans Theater in Holland, where he was quickly incorporated into the company and repertoire. His first choreographic attempt in 1983 turned into a major success: Jardí Tancat to Spanish/Catalan music by compatriot María del Mar Bonet won him the first prize at the International Choreographic Workshop (Internationaler Choreographischer Wettbewerb) at Cologne. Duato has created more than a dozen works for the two companies of Nederlands Dans Theater and in 1988 was named Resident Choreographer next to Hans van Manen and Jirí Kylián. His ballets form part of the repertoire of companies like Paris Opera, Cullberg Ballet, Nederlands Dans Theater, Les Grands Ballets Canadiens, Deutche Opera Ballet, Australian Ballet, Stuttgart Ballet, Ballet Gulbenkian, Finish Opera Ballet, The Royal Ballet, The Singapore Ballet, Tulsa Ballet Theatre, Pacific Northwest Ballet, San Francisco Ballet, The Washington Ballet, Hubbard Street Dance Chicago, North Carolina Dance Thatre, The Boston Ballet, The Gothemburg Ballet, The Royal Swedish Ballet, The Royal Danish Ballet, The Northen Ballet, Ballet du Capitole, Ballet du Rhin, Teatro Comunale Florence, National Ballet of Portugal, The Norweigian Ballet, National Theatre Tokio, The Universal Ballet, Stars Foundation Ballet, American Ballet Theatre, Tulsa Ballet Theatre, Staats Theater Berlin, Bolshoi Ballet, etc.

From June 1990 until July 2010 Nacho Duato was Artistic Director of Compañía Nacional de Danza (Madrid-Spain). In 1995 he received the grade of Chevalier dans l’Ordre des Arts et des Lettres which is annually given by the French Embassy in Spain. In 1998 the Spanish Government awarded him the Golden Medal for the Merit in the Fine Arts. At the Stuttgart Opera he was offered the Benois de la Danse, one of the most prestigious international awards for choreography, presented by the International Dance Association for his ballet Multiplicity, Forms of Silence and Emptiness, in April 2000. From January 2011 he held the position of Artistic Director of Mikhailowsky Ballet (Saint Petersburg, Russia). From 2014–2018, he was the Artistic Director of Berlin State Ballet (Germany). He is currently the Artistic Director of the Mikhailowsky Theater Ballet Company (Saint Petersburg, Russia).

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CHOREOGRAPHER PROFILES DARRELL GRAND MOULTRIE A recipient of the Princess Grace Choreography Fellowship Award, Darrell Grand Moultrie has established himself as one of the most diverse and sought-after choreographers and master teachers. This past fall, American Ballet Theatre performed Moultrie’s Indestructible Light at New York’s Lincoln Center Theatre and Milwaukee Ballet premiered Flight Anew.

Moultrie has created and staged works for The Alvin Ailey American Dance Theatre, Dance Theatre of Harlem, Dallas Black Dance Theatre, Atlanta Ballet, Colorado Ballet, Cincinnati Ballet, BalletMet Columbus, Ailey 2, Tulsa Ballet, Richmond Ballet, Smuin Ballet, Sacramento Ballet, The Juilliard School, North Carolina Dance Theatre, Cleo Parker Robinson Dance Ensemble, and NBA Ballet in Japan. On stage, Darrell’s work can currently be seen in Space Dogs at New York’s MCC Theatre. Additionally, he has provided movement and choreography for The Public Theater’s Shakespeare in the Park production of Merry Wives, the world premiere of Jeremy O. Harris’s off-Broadway play Daddy, Witness Uganda at American Repertory Theater directed by Tony Winner Diane Paulus, Sugar in Our Wounds at Manhattan Theatre Club, the off-Broadway musical Invisible Thread at Second Stage, the world premiere of Redwood at Portland Center Stage Theater, and Evita and Pride & Prejudice at Kansas City Repertory Theatre. Darrell also choreographed El Publico, a new opera at the world-famous Teatro Real in Madrid, Spain directed by Robert Castro and conducted by Robert Heras-Casado. Moultrie is also set to choreograph the world premiere of the new musical Goddess at Berkeley Repertory Theatre. Moultrie is a proud New Yorker, born and raised in Harlem, and a graduate of P.S. 144, The Harbor Conservatory for the Performing Arts, LaGuardia High School, and The Juilliard School.

JERMAINE MAURICE SPIVEY Jermaine Maurice Spivey was born in Baltimore, Maryland USA and is a graduate of Baltimore School for the Arts and The Juilliard School. From 2002–2017, Jermaine lived and worked predominately throughout Europe. He has been a company member of Ballet Gulbenkian and Cullberg Ballet, worked as a freelance/guest artist for Hofesh Shechter Company, Robyn Live 2016, The LID, Arias Company and The Forsythe Company from 2013–2015 as well as a cast member of American Repertory Theater’s original production The Shape She Makes conceived

by Susan Misner and Jonathan Bernstein. Since 2008, Jermaine has been a member of Crystal Pite’s project-based company Kidd Pivot. He has rehearsal assisted and/or staged Crystal Pite’s work for companies such as Cedar Lake Ballet, Carte Blanche, Hessisches StaatsBallett Wiesbaden, Nederlands Dans Theater, and Paris Opera Ballet. Jermaine has instructed dance all across North America and Europe for professional companies, universities, studios and training programs including USC Kaufman School of Dance, Cal Arts, The Juilliard School, UCLA, NYU Tisch, Baltimore School for the Arts, The Performing Arts Project, MOVE NYC, No)one. Art House, Nuova Officina Della Danza and GöteborgsOperans Danskompani. He is a 2001 Princess Grace Awardee and a 1998 National Foundation for the Advancement of the Arts 1st Level Awardee. As a choreographer, Jermaine has been commissioned by Salt Contemporary Dance, Rambert 2, LA Dance Project, The Broad Museum, Christina Aguilera Live at The Hollywood Bowl with Gustavo Dudamel and the LA Phil, and most recently Hubbard Street Dance Chicago.

Jermaine has also created and performed two full evening works with partner and collaborator Spenser Theberge titled Rather This Then and Position 3.

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2021–22 DANCER PROFILES Alyssa Allen (Los Angeles, CA) attended the Orange County School of the Arts. She then graduated in 2019 as a member of the inaugural class at the USC Glorya Kaufman School of Dance under the direction of William Forsythe and Jodie Gates. She has performed works by choreographers Crystal Pite, Jiří Kylián, Johannes Wieland, George Balanchine, William Forsythe and Aszure Barton, to name a few. Alyssa has attended intensives such as Nederlands Dans Theatre, Springboard Danse Montréal, and Orsolina28 in Italy. She has performed at the Music & More SummerFest in Bosnia, the Walt Disney Concert Hall, and the Joyce Theatre. Additional credits include dancing in music videos for Billie Eilish and Emmit Fenn, and performing at the Country Music Awards.

This is her third season with HSDC. Alexandria Best (Raleigh, NC) In her formal training years, Best has acquired knowledge from various instructors across programs such as American Ballet Theatre, Arts Umbrella, Carolina Ballet, French Académie of Ballet, and HSDC. She has had the great opportunity to perform various works by choreographers such as Rena Butler, Alexandra Damiani, Jessica Hendricks, Jiří Kylián, Florian Lochner and Alice Klock (also known as “FLOCK”), and Crystal Pite. Best is most recently a graduate of Pace Univeristy, where she received her BFA, and is in her first season with HSDC. Alexandria is elated to be joining the company and for all the opportunities and experiences coming forth this season.

Craig D. Black Jr. (San Jose, CA) began dancing at South Bay Dance Center at the age of ten. In 2011 Craig received his BFA from The Juilliard School where he was awarded the 2010 Princess Grace Award in Dance. He has received additional training at summer programs such as Springboard Danse Montréal, Nederlands Dans Theater Summer Intensive, and The School at Jacob’s Pillow (2011 Lorna Strassler Award for Student Excellence). Craig joined HSDC in the fall of 2017 after finishing six seasons with the Aspen Santa Fe Ballet. He has had the pleasure of dancing works by Kyle Abraham, Aszure Barton, Jirí Kylián, Jorma Elo, Cayetano Soto Ramirez, William Forsythe, Alejandro Cerrudo, Ohad Naharin, Crystal Pite, Robyn Mineko-Williams, Nacho Duato, and Peter Chu along with many others. He has taught and choreographed for many schools and studios throughout the U.S. as well as co-choreographed and rehearsal directed for Cardi B and Offset’s 2019 BET Awards performance. In addition, Craig is certified to teach IMAGE TECH for Dancers™ introductory level through advanced level and serves as guest faculty for the HSDC main company, Hubbard Street Professional Program, Steps on Broadway, Peridance Center, The Joffrey Academy, New York City Dance Alliance and Dupree Dance.

Jacqueline Burnett (Pocatello, ID) received her formative ballet training in her hometown of Pocatello, Idaho, from Romanian Ballet Master Marius Zirra. She graduated from the Ailey School/Fordham University joint BFA degree program in 2009, while concurrently dancing as a Center Apprentice with Hubbard Street from January 2008. Jacqueline joined the main company in August 2009 and has since served as an Artistic Lead for Hubbard Street Summer Intensives, a repetitor for choreographies by Penny Saunders (Ballet Idaho, Seattle Dance Collective, Royal New Zealand Ballet), and a freelance dancer with Robyn Mineko Williams and Artists and Seattle Dance Collective. She received a Princess Grace Honorarium for Dance in 2011.

Michele Dooley (Philadelphia, PA) began her dance training at The Institute of the Arts, graduated from The Philadelphia High School for Creative and Performing Arts, and later earned her BFA in Dance from The University of the Arts. Michele has completed programs with Bates Summer intensive, BalletX Summer Program, and DCNS Summer Dance Intensive and has worked with choreographers Gary Jeter, Tommie-Waheed Evans, Dara Meredith-Stevens, Milton Myers, Nora Gibson, and Donald Byrd. She has had the privilege of working with Eleone Dance Theatre and Spectrum Dance Theater. Michele is beyond thrilled to join Hubbard Street Dance Chicago this season!

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2021–22 DANCER PROFILES Michael Garcia (McAllen, TX) A recent graduate of The Juilliard School, he received his BFA under the direction of Alicia Graf Mack. As a dancer, he is a YoungArts Winner and an alumni of The School at Jacob’s Pillow. He has been fortunate enough to work creatively and perform works by artists such as Bryan Arias, Robert Battle, Aszure Barton, Sidra Bell, Ethan Colangelo, Shannon Gillen-Lipinski, Francesca Harper, Jessica Hendricks, Bobbi Jene Smith, Loni Landon, Donald Mckayle, Andrea Miller, Ohad Naharin, and Benoit-Swan Pouffer. Beyond dance, Michael has many passions and pursuits in both teaching and choreography that have allowed him to teach, create and assist across the country. This is Michael’s first season with HSDC and he is beyond excited for all of the opportunities and love this community has to offer.

Elliot Hammans (Santa Fe, NM) began his formal dance training in 2008 with Robert Sher-Machherndl and continued his ballet and modern dance education with Moving People Dance in Santa Fe, NM, under the direction of Curtis Uhlemann. Hammans joined Moving People Dance Company as an apprentice in 2010, trained on full scholarship at the Alonzo King LINES Dance Center in San Francisco, and attended Hubbard Street Dance Chicago’s 2011 and 2012 Summer Intensives. Following one season with Cherylyn Lavagnino Dance and studies abroad at Austria’s Tanzzentrum SEAD (Salzburg Experimental Academy of Dance), Hammans earned his BFA in Dance in 2014 from Tisch School of the Arts at NYU. Hammans joined Hubbard Street 2 as a full company member in August 2014 and was promoted to Hubbard Street’s main company in August 2016.

Alysia Johnson (Dallas, TX) first found dance at Dallas Black Dance Theatre and later went on to graduate from Booker T. Washington High School for the Performing and Visual Arts where she studied ballet, modern, and composition. A graduate of The Juilliard School and a two-time recipient of Juilliard’s Entrepreneurship Grant, she has served the Dallas dance community by founding and directing programs that cater to young artists in the DFW metroplex since 2015. Recently, Alysia was awarded the Princess Grace Honoraria Award for dance and she is endlessly thankful for the dance community at large for their support and unmatched creativity.

Adam McGaw (Detroit, MI) received his Bachelor of Fine Arts Degree in Dance at Wayne State University (2015). He has performed works by Crystal Pite, Kyle Abraham, Johannes Weiland, Fernando Melo, Maxine Doyle, and Jonathan Fredrickson amongst many others. Additional training includes Complexions Contemporary Ballet Summer Intensive, Springboard Danse Montreal, b12 Festival (Berlin, Germany) and Gaga Winter Intensive (Tel Aviv, Israel). Adam joined HSDC full time in 2019.

Andrew Murdock (St. Albert, AB) is a graduate of the Juilliard School, from which he received a BFA in Dance under the direction of Lawrence Rhodes. Prior to being a regular collaborator with Aszure Barton & Artists, Murdock performed with Gallim Dance and BJM Danse, formerly Les Ballets Jazz de Montréal. Additional collaborators and colleagues include Cherice Barton, Joshua Beamish, Andy Blankenbuehler, Nina Chung, Joe Lanteri, Austin McCormick, Michelle Mola, Abdel Salaam, and Edgar Zendejas. He has appeared at the Greenwich Music Festival, with Zack Winokur, and with Geneviève Dorion-Coupal at Just for Laughs and Le 400e Anniversaire de la Ville de Québec. As a rehearsal assistant to Aszure Barton, he has worked with American Ballet Theatre, Canada’s National Ballet School and Ballet BC, New York University, the Steps Ensemble, Arts Umbrella, and Springboard Danse Montréal. He joined Hubbard Street in 2013.

Photos by Frank Ishman.

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2021–22 DANCER PROFILES Abdiel Figueroa Reyes (Las Vegas, NV) was born and raised in Guaynabo, Puerto Rico prior to moving to the United States. Figueroa began his professional dance training at The Rock Center for Dance while attending Las Vegas Academy of the Arts as a Dance Major. In 2016, he joined the Las Vegas residential company at Contemporary West Dance Theater (formerly known as the Las Vegas Contemporary Dance Theater) under the direction of Bernard H. Gaddis, where he continued his training in modern, ballet, and contemporary. In 2017, Figueroa became a member of HSDC’s Professional Program (HS Pro) under the direction of Alexandra Wells where he trained under educators such as Peter Chu, Claire Bataille, and Glenn Edgerton, as well as HSDC company artists and guests. After a one-year apprenticeship, Figueroa was promoted to the main company in 2019. He is beginning his third year with the company, performing works by Aszure Barton, Kyle Abraham, Crystal Pite, Ohad Naharin, Jermaine Spivey, Nacho Duato, Rena Butler and others, while continuing his artistic growth with HSDC. David Schultz (Grand Rapids, MI) began training in Michigan with the School of Grand Rapids Ballet, where he then performed for four seasons with its company, Grand Rapids Ballet. Schultz joined Hubbard Street 2 in September 2009 and was promoted to the main company in August 2011, and he is the recipient of a 2012 Princess Grace Award.

Kevin J. Shannon (Baltimore, MD) is a graduate of the Baltimore School for the Arts. He received additional training from the School of American Ballet, Miami City Ballet, Paul Taylor, and Springboard Danse Montréal. After receiving his BFA from The Juilliard School in 2007, Kevin was invited to join HSDC. While a dancer with Hubbard Street, he has had the privilege to work under the direction of Jim Vincent, Glenn Edgerton and the current Artistic Director Linda-Denise Fisher-Harrell. Kevin is honored to have performed works by Crystal Pite, Kyle Abraham, Jirí Kylián, Aszure Barton, Sharon Eyal, Twyla Tharp, Alejandro Cerrudo, Robyn Mineko Williams, William Forsythe, Peter Chu, Ohad Naharin, among many others over his fourteen years with the company. In 2013 Kevin participated in DanceMotion USA, a cross cultural exchange program between HSDC, BAM and the US State Department, where he taught and performed in North Africa and Spain. As an educator, Kevin has taught dance master classes around the world, led and programmed the HSDC Summer Intensives, and is currently a guest teacher for Hubbard Street’s main company. He has served as faculty for The Joffrey Academy, Chicago Movement Collective, and Peridance Center. In addition, Kevin is a certified IMAGE TECH for Dancers™ teacher.

Simone Stevens (Atlanta, GA) earned her BA in Dance and Minor in Anthropology from Kennesaw State University in July 2017. One year post-grad, Stevens moved to Chicago and trained on scholarship at the Lou Conte Dance Studio where she was mentored by Laura Wade, Ethan Kirschbaum, and Kristina Fluty. During that time, Stevens also freelanced throughout the city and performed works choreographed by Alice Klock, Alysia Johnson, Hanna Brictson, LOUD Bodies, and Joshua Peugh among others. Most recently she performed as a company member with Katlin Bourgeois’s Ensemble180 and was on faculty with Ethan Kirschbaum’s Chicago Movement Collective before joining Hubbard Street Dance Chicago. In Stevens’s first season as a member of HSDC she will be performing works choreographed by Jermaine Maurice Spivey, Aszure Barton, Rena Butler, Ohad Naharin, Nacho Duato and others.

Photos by Frank Ishman.

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DELVE INTO DANCE

A

s you enjoy today’s program, we invite you to Delve Into Dance with us and enrich your experience by considering some of the following questions before, during, and after the performance: n

n

n

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H ow does the music/soundscape contribute to your experience of the piece? o any of the pieces evoke other art forms or D societal/cultural influences?

W hat emotions do particular movements or moments bring up for you?

D o you think the choreographers created their pieces with a specific message or story to convey? If so, what?

Craig D. Black Jr. Photo by Paul Octavious, styling by Hogan McLaughlin.

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SPOTLIGHT ON: Jardí Tancat Artistic Director Linda-Denise Fisher-Harrell and Hubbard Street Dancer Kevin J. Shannon comment on the significance of this encore performance of Nacho Duato’s evocative and stirring piece:

“For my debut season as Artistic Director, I wanted to pay tribute to Hubbard Street’s rich, decades-long history with global choreographer Nacho Duato by reviving one of his first, most celebrated works, Jardí Tancat. Visually stunning, the work imparts resilience and perseverance through hard times, and it has been an audience favorite since we started performing it in the late 90s.”

—Linda-Denise Fisher-Harrell

“Jardí Tancat (Enclosed Garden) is a love song to the earth, to the rural. I hope the audience will see the story of resilience this work tells through our movements and gestures: An outstretched hand asking for rain, a stomp of the foot on dry cracked dirt, a gaze beyond the walls of the garden looking towards the future, towards hope.

Despite the despair and melancholy that can arise within the work, there is an immense sense of perseverance, exuberance, and a love for life that I believe all of us can connect with. I learned Jardí Tancat fourteen years ago when I joined Hubbard Street, and I feel that its narrative of taking care of the land, of hope and determination, remains especially relevant today.”

—Kevin J. Shannon Pictured: Craig D. Black Jr., Kevin J. Shannon, Alysia Johnson, and Andrew Murdock in Jardí Tancat. Photos by Michelle Reid.

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SPOTLIGHT ON: The Seen The Seen returns in a new venue—and with even more newness than you might expect. Choreographer Jermaine Maurice Spivey touches on what makes each experience of The Seen unique, and at the same time, consistent in its message.

You’ve mentioned the importance of improvisation to your creative process. Are the dancers improvising any part of The Seen in today’s program? Yes! The Seen is slightly different every time it’s performed. The beginning, middle, and end are always the same, and the scenes within the work are the same—but not all of the dancing and interactions will be done in exactly the same way, every time.

How do the dancers decide what moments are different? There is set choreography, for example, the choreography dictates that Simone goes here at this time, Alysia does this, Abdi does this, etc.

There are elements of the piece that are tied to certain words, certain places in the text, certain sounds in the soundscape that we also collectively created. So, people know where to go and when to go there, and what the tasks are—but the tasks leave room for people to improvise.

How do the improvisational moments in The Seen contribute to the overall effect of the piece?

Ooh, I like this question. I’m going to say: by making the dancers rely on improvising as much as they do, it puts them in a certain state of listening and a state of communication with each other—which is ultimately what the piece is about.

Open this QR code with your camera app to watch Jermaine’s episode of Inside the Studio for behind-the-scenes rehearsal footage and to learn more about “tasks,” improvisation, and the process!

What is spoken in The Seen: As seen from a place where what I see is you seeing what is seen between us. Looking at we through me, you saw us. See, because seeing is how I saw the scene as seen from in between what we saw.

We’re watching you fade away from what I saw in the scene between you seeing me being seen and what was the see saw between us. Me fading into what you were watching, and… What I see as us seen by you between me and the scene, is why we are looking into this fade away from what is seen between the seeing and sawing.

If what you saw was how I see us between scenes, then we can agree and disagree. See? Because we are fading away from watching us see saw between me looking at you as the scene as seen from a place of what we saw, and what we now see.

You’re talking about us seeing what is seen as the scene, but I see us, and what you saw, and what was scene. It’s only worth talking about if we are seeing what I saw you see. If you’re talking about how you saw me see, then we should first agree to see the scene as a moment seen between what you and I saw.

Between us, there was a moment I saw how you were seen between scenes, between what we were seeing and how you saw what we talked about as being seen.

I’m not sure if you saw that.

Honestly, I didn’t see it at first.

Because, between us, we saw you see me and I was seeing and talking but wasn’t seen, and you were the scene although we’d agreed to be seen together.

So as far as seeing goes, what we saw is no longer between. hubbardstreetdance.com

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SPOTLIGHT ON: Darrell Grand Moultrie The busy choreographer of Hubbard Street’s world premiere Dichotomy of a Journey addresses inspiration, and creating for a collective moment.

Tell us about your inspiration for this new work.

Initially, I knew I wanted to do a work that spoke to the times that we’re in. I also knew I wanted to do something that foundationally and musically connected to me being from Harlem and growing up listening to Gospel, and then going to the Juilliard school and being surrounded by classical music. The piece is called Dichotomy of a Journey; it’s a play on the music, classical and Gospel meshing together, but it’s also about how we both survive and celebrate this moment we are in. The work represents persevering together.

What is unique about creating Dichotomy of a Journey on Hubbard Street?

The use of Gospel music is new for Hubbard Street. It’s the soundtrack of my life– but coming into this process I found myself wondering, why haven’t I choreographed with Gospel music? So, this is the place where I knew I wanted to share this experience as we open up and push to diversify audiences. What’s beautiful about Gospel is that the audience is universal. It’s not [necessarily] about the word of the Lord—it’s the message of the song that has pulled so many people together, inspiring hope across so many different backgrounds—and I’m excited about that.

What do you hope the audience takes away from this piece?

This is a really difficult moment, but also a beautiful moment for those of us who have the opportunity to share art. I wanted to create a work that can move people— physically, emotionally, lyrically—to help you, energize you, and inspire you to keep dreaming and encouraging yourself. At the same time, I want to help people to escape. I would love the audience to identify with the humanity of the dancers in front of them—who have worked their tails off to present this work!—and connect on a human level.

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OUR NEW HOME Hello, downtown Chicago!

Hubbard Street Dance Chicago has moved its studio to a 13,000 square-foot space on the fourth floor of Water Tower Place! The new facility will include a dance studio, artist lounge, office area, production storage, dressing rooms and a physical therapy area. Visitors to Water Tower Place will be able to get a partial view of rehearsals in progress as they stroll the mall.

“Our presence in one of Chicago’s most popular destinations gives us an opportunity to integrate the company further into the cultural fabric of Chicago. Along with the incredible visibility that comes with a presence on Chicago’s Magnificent Mile, we are happy to be closer to our performance venues, the Harris Theater for Music and Dance and the Museum of Contemporary Art.” —Hubbard Street Executive Director Dave McDermott

Open this QR code with your camera app to read more about our new home and see more photos of the space! hubbardstreetdance.com

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YOU MAKE AN IMPACT! Since you’re here, you either already know Hubbard Street Dance Chicago is the premier contemporary dance company in the country and among the best in the world—or you’re about to find out.

Our incredible dance artists are essential to who we are, but they’re only part of our story. The other part? You! YOUR SUPPORT:

Nurtures young minds by sharing our award-winning education programs with more than 900 students annually, spanning kindergarten through grade 12, in 13 community areas all across Chicago. Students engage in creative problem-solving, learn a whole new movement language together, and gain valuable tools for integrating their bodies and brains.

Brings diverse collaborators—the world’s best and brightest choreographic voices—to Chicago to work with Hubbard Street dancers and the broader community, including public school students. It also shares the unique talents of our dancers with the country and world when we tour.

Generates essential conversations on art and tradition to help us explore new creative possibilities. The virtual workshops and comprehensive study guides for teachers in our UNBOXED series helped address vital topics such as diversity, prejudice, culture, and appropriation in the arts.

Pushes contemporary dance in exciting, fresh directions. The Chicago Tribune praised our virtual season’s “cinematic excellence” and admired the way we showcased the “wide-ranging potential of dance on film.” Our films also won numerous awards!

Your support is essential in helping Hubbard Street enrich, engage, educate, and change lives through the experience of dance.

Text ‘RECONNECT’ to 53-555 to make a tax-deductible gift today or visit hubbardstreetdance.com/donate. All gifts are generous and appreciated.

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SAVE THE DATE

HSDC EDUCATION: Dance for all Hubbard Street Dance Chicago brings people into the world of dance—a world of creativity, collaboration, and connection.

In schools, at home, and across our community, we have programs and resources to engage all people—everyBODY—in the art of dance.

Open this QR code with your camera app to learn more about Hubbard Street’s Education & Community programs!

Darrell Grand Moultrie guest teaching at Jones College Prep. Photo by Michelle Reid.

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FACULTY SPOTLIGHT MEET TEACHING ARTIST

JAMIE BRUNSON

Years as a Hubbard Street teaching artist: 5 Tell us about your favorite teaching moment: At the end of our residencies, our students put on a performance for their friends, family, and other students. I had one student who was extremely nervous about performing, so we talked about ways he could better manage and work through his fears.

After the performance I asked the students what they had learned, and he replied that he had learned that he is strong and can do scary things. Helping students find their voice and the courage to share that voice brings me great joy as a teaching artist.

Arts education is important because: It allows young people to explore and connect on a deeper level with their world, their feelings, and those around them. It also gives them a language to express their thoughts and feelings.

MEET TEACHING ARTIST

ANNE KASDORF

Years as a Hubbard Street teaching artist: 10 Tell us about your favorite teaching moment: After 18 months of remote teaching, I was really caught off guard by how exhilarating the return to in-person learning felt last fall. I have such a renewed gratitude for the opportunity to engage with students.

Arts education is important because: Photo by Lumosco.

Every voice matters.

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2021–22 HUBBARD STREET STAFF PROFILES Linda-Denise Fisher-Harrell (Artistic Director) ascended to this role in 2021, after an extraordinary career as a professional dance artist and educator. Linda-Denise was born in Baltimore, Maryland, and began her dance training at the Baltimore School for the Arts under the guidance of Sylvester Campbell and Stephanie Powell. She was an apprentice with the Capitol Ballet in Washington D.C. and a full fellowship student at The Ailey School. While a student at The Juilliard School, she was invited by Hubbard Street founder Lou Conte to join the main company at the age of 19, thus beginning her professional dance career. After three seasons with Hubbard Street, Linda-Denise became a Principal Dancer with the Alvin Ailey American Dance Theater, under the direction of Judith Jamison. During her 13-year tenure with the company, Linda-Denise performed all over the world and was featured in the works of Alvin Ailey, Robert Battle, Talley Beatty, Ron K. Brown, John Butler, Donald Byrd, Ulysses Dove, George Faison, Rennie Harris, Geoffrey Holder, Judith Jamison, Louis Johnson, Alonzo King, Lar Lubovitch, Donald McKayle, Elisa Monte, Jennifer Muller, David Parsons, and Dwight Rhoden.

Linda-Denise was invited to give a number of special performances throughout her career, including the White House State Dinner in honor of the President of Kenya, Mwai Kibaki, and the 12th Annual Kennedy Center Gala with Nancy Wilson and Liza Minelli. Linda-Denise has led a distinguished career as a dance educator in her hometown of Baltimore where, since 2005, she has been a Professor of Dance at Towson University and has served on the faculty of the Baltimore School for the Arts. Her research and scholarship in continuing the Ailey legacy within the Towson University and Greater Baltimore community has resulted in the Ailey II residencies from 2011-2019 hosted by Towson University and the establishment of AileyCamp Baltimore at Towson University in 2014 where she served as Director. Ms. Fisher-Harrell holds a Master of Fine Arts Degree in dance from Hollins University and is an ABT® Certified Teacher. As a scholar, her entry “Alvin Ailey” has been published by the Routledge Encyclopedia of Modernism.

Linda-Denise and her husband have three children.

David McDermott (Executive Director) manages organization-wide strategy and administrative functions including oversight of its finances, operations, marketing, and development departments. Most recently, David led Hubbard Street through a post-COVID-19 restructuring, guided its new access-first digital strategy, and directed the company’s recent move to Water Tower Place. Prior to joining Hubbard Street David served as the First Deputy Commissioner at the City of Chicago’s Department of Cultural Affairs and Special Events. In this role, David managed the day-to-day operations of the department and played instrumental roles in major initiatives such as creating the Chicago Cultural Plan, revitalizing the Taste of Chicago, and ensured the success of the Chicago Architecture Biennial. Prior to his employment with the City, David led the Senator Durbin’s Department of Community Outreach, served as the Senator’s Political Director, and has managed political campaigns at the congressional, county, and municipal levels. David recently completed a fellowship at the University of Chicago’s Civic Leadership Academy and holds a degree in Public Policy from Trinity College at the University of Dublin.

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2021–22 HUBBARD STREET STAFF PROFILES Lou Conte (Founding Artistic Director) after a performing career that included roles in Broadway musicals such as Cabaret, Mame and How to Succeed in Business Without Really Trying, established the Lou Conte Dance Studio in 1974. Three years later, he founded what is now Hubbard Street Dance Chicago. Originally the company’s sole choreographer, he developed relationships with emerging and world-renowned dancemakers Lynne Taylor-Corbett, Margo Sappington and Daniel Ezralow as the company grew. Conte continued to build Hubbard Street’s repertoire by forging a key relationship with Twyla Tharp in the 1990s, acquiring seven of her works as well as original choreography. It then became an international enterprise with the inclusion of works by Jiří Kylián, Nacho Duato and Ohad Naharin. Throughout his 23 years as the company’s artistic director, Conte received numerous awards including the first Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and a Chicagoan of the Year award from Chicago magazine in 1999. In 2003, Conte was inducted as a laureate into the Lincoln Academy of Illinois, the state’s highest honor, and in 2014, was named one of five inaugural recipients of the City of Chicago’s Fifth Star Award. He has been credited by many for helping raise Chicago’s international cultural profile and for creating a welcoming climate for dance in the city, where the art form now thrives.

Jessica Tong (Associate Artistic Director) trained at the University of Utah with a ballet focus and danced with the Utah Ballet for two years while finishing her high school education. She began her professional performance career with BalletMet under the leadership of David Nixon.

Tong then moved to New York City, where she experimented in a wide-variety of freelance work before taking a position with Eliot Feld’s Ballet Tech, eventually joining Hubbard Street 2 in 2004 under the directorship of Julie Nakagawa. Tong advanced to the main company under Jim Vincent and continued under his successor, Glenn Edgerton, whose mentorship continues to this day. Over an 11-year span, Jessica was fortunate to dance with Hubbard Street Dance Chicago on local and international stages, performing principal roles in works by Hubbard Street founder, Lou Conte, and by contemporary greats Nacho Duato, Mats Ek, Jiri Kylian, Ohad Naharin, and Twyla Tharp to name a few. She has also originated roles in works by Aszure Barton, Alejandro Cerrudo, Jorma Elo, Victor Quijada, and Robyn Mineko Williams, among others. Upon retiring from the stage, Tong assumed the role of Rehearsal Director at Hubbard Street, maintaining repertoire by the likes of Duato, Naharin, Crystal Pite and William Forsythe. Tong also assisted choreographers like Kyle Abraham, Brian Brooks, Rena Butler, and Osnel Delgado on new creations for the company. In Spring 2020, Tong was named Associate Artistic Director and led the company in a programming pivot. In this new role Tong planned and directed Hubbard Street’s first ever all-virtual Season 43, presenting five new dance films free of charge to online audiences everywhere, and created programming that partnered with Chicago DanceMakers Forum and Final Bow for Yellowface. Named one of Dance Magazine’s 25 to Watch in 2009, Jessica has served on the Dance Ambassador committee for Dance for Life Chicago, served on national grants panels including the 92nd St Y’s Inaugural Future Dance Festival, and in 2013 had the honor of traveling to North Africa as part of DanceMotion USA, a program sponsored by the U.S. Department of State and Brooklyn Academy of Music that facilitated cross-cultural exchange through dance. Tong has led Hubbard Street summer intensives, translated works as a repetiteur, and conducted master classes throughout the states.

hubbardstreetdance.com hubbardstreetdance.com

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2021–22 HUBBARD STREET STAFF PROFILES Jonathan E. Alsberry (Rehearsal Director) from Normal, IL is a dance educator, creator and coach focused on inspiring excellence and joy in the study of Ballet, Jazz, and Modern techniques with a constant dedication to the exploration of artistry and the creative process. Currently the Rehearsal Director with Hubbard Street Dance Chicago, Jonathan began dancing with his mother Lyndetta and went on to graduate from The Chicago Academy for the Arts where he has since been a guest faculty member. In 2006 he received his BFA from The Juilliard School where he met Aszure Barton. Jonathan a.k.a “Jojo” is now dancer, rehearsal director, and creative collaborator with Aszure Barton & Artists and has assisted Mrs. Barton in over a dozen creations including Alvin Ailey American Dance Theater, Bayerische Staatsballett and Hubbard Street Dance Chicago.

In 2007 Jonathan also joined the Lar Lubovitch Dance Company and is currently a performer, rehearsal director and teaching artist with the company. He has shared two tours with Mikhail Baryshnikov’s “Hell’s Kitchen Dance” as well as “Evolution” with Alessandra Ferri and Herman Cornejo. Other credits include The Chase Brock Experience, Daniel Gwirtzman Dance Company, Luna Negra Dance Theater, Nilas Martins Dance Company, and Eisenhower Dance Ensemble.

Since 2007, Jonathan has been teaching, coaching and creating work at various educational institutions including Arts Umbrella, Harvard University, University of California at Irvine, Springboard Danse Montreal, Ballet Hispánico and University of Southern California.

Hubbard Street Dancer Michele Dooley. Photo by Paul Octavious, Styling by Hogan McLaughlin.

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HUBBARD STREET STAFF AND BOARD Linda-Denise Fisher-Harrell Artistic Director David McDermott Executive Director Artistic Staff Jessica Tong Associate Artistic Director Jonathan E. Alsberry Rehearsal Director Krista Ellensohn Manager of Training Operations Administrative Staff Abby Olson General Manager Cait Lyon Finance Associate External Affairs Katie Grogan Director of Development Ashley Echevarría Development Coordinator Nikki Horwitz Grants Coordinator Erik Kaiko Director of Marketing & Communications Megan Moran Manager of Marketing & Communications

Youth, Education, and Community Programs Eboné Harden Director of Education Teaching Artist Faculty Carly Bress Jamie Brunson Kaitlin Flynn Goodwin Rebeca G. Griffin Charli Harris Anne Kasdorf Danielle Kfoury Mara Noguez Daisy Rueda Julia Rzonca Isabelle Taylor Production Harrison Pearse Burke Director of Production Kate Darby Stage Manager and Head of Props Casey Doyle Head of Audio Jack Horwitch Head Electrician Kevin Upham Head Carpenter and Stage Operations Board of Directors Steven Collens Chair Kristin Conley President Richard Rodes Treasurer

Bija Bennett Ross B. Bricker Heather Caruso Mara S. Georges Ronda Joubert Solange Sandy Lloyd Jasminka Milpak Marc Miller Debra Moritz Camille E. Rudge Life Directors John W. Ballantine+ Corinne Brophy Edythe R. Cloonan++* Pam Crutchfield Sondra Berman Epstein+* Stanley M. Freehling* Charles R. Gardner Paul Gignilliat Sandra P. Guthman+ Gail Kalver James Mabie++* Marie E. O’Connor++* Byron Pollock++* Timothy Schwertfeger++ Jack D. Tovin Randy White William N. Wood Prince+ + Past Board Chair ++ Past Board President *In Memoriam Program Book Erik Kaiko Editor Communiqué Graphic Design Designer

Jodi Patt Secretary Larry Gilbert Immediate Past Chair, VP of Development Yasmine Winkler VP of Membership hubbardstreetdance.com

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SUPPORT We gratefully acknowledge the support of the following corporations, foundations, government agencies, and individuals who made gifts to Hubbard Street Dance Chicago between November 1, 2020 and January 31, 2022. Their support kept the company moving, even while apart, and made the performance you enjoy today possible.

Corporate, Foundation & Government Support $100,000 and above Athletico Physical Therapy Lloyd A. Fry Foundation Polk Bros. Foundation Pritzker Foundation $50,000–$99,999 Chicago Athletic Clubs Hearst Foundations The John D. and Catherine T. MacArthur Foundation The Shubert Foundation $25,000–$49,999 The Arts Work Fund CIBC Crown Family Philanthropies Julius N. Frankel Foundation Illinois Arts Council Agency ITW Prince Charitable Trusts Elizabeth Louise Smith Fund at The Chicago Community Foundation Anonymous (1)

$10,000–$24,999 AbbVie Robert & Isabelle Bass Foundation, Inc. City of Chicago Department of Cultural Affairs and Special Events Exelon John R. Halligan Charitable Fund Daniel H. Lome Foundation National Endowment for the Arts PPM America, Inc./Jackson National Life Insurance Sage Foundation The Siragusa Family Foundation Anonymous (1) $5,000–$9,999 Butler Family Foundation Elizabeth F. Cheney Foundation Dr. Scholl Foundation Golder Family Foundation Grosvenor Capital Management, L.P. Irving Harris Foundation Charles & M.R. Shapiro Foundation William Blair and Company, LLC Anonymous (1) $1,000–$4,999 Council for Canadian American Relations HMS Media Kovler Family Foundation Earl S. McDaniel Jr. Foundation Sahara Enterprises, Inc.

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SUPPORT

Individual Support $100,000 and above Nancy A. Lauter and Alfred L. McDougal Charitable Fund $25,000–$99,999 Marla and Larry Gilbert Sandra and Jack Guthman $10,000–$24,999 Andrew and Shaun Block Lewis Collens Steven Collens and Caralynn Nowinski Kristin Conley and Andrew Sudds Martha Struthers Farley and Donald C. Farley, Jr. Family Foundation Marc Miller and Chris Horsman Debra Moritz R. Penny Rodes DeMott Richard L. Rodes James R. Schulte Yasmine and George Winkler Anonymous (1) $5,000–$9,999 John and Caroline Ballantine John Blosser Joel and Katie Cory Jana French and Peter Gotsch Charlie Gardner and Patti Eylar Ian Jacobs and Valerie Chang Ron and Elise Magers Anthony Milian Melissa O’Malley Jodi Patt and Wesley Crampton Eleanor and William Revelle Burton and Sheli Rosenberg Kevin and Camille Rudge Jack and Niki Tovin Randy and Lisa White Liza Yntema, In support of female leadership in dance Anonymous (1)

$2,500–$4,999 Meg and Tim Callahan Andrew Francis Mara Georges and Michael Mutz Mary Gray Patricia Harper Howard and Gail Lanznar Brian Reed Eric and Tammy Steele Anonymous (1) $1,000–$2,499 Sandra Bass Corinne Brophy Bridget and Jim Coffing Jeff Corbin and Massimo Pacilli Thomas Durica and Susan Jacobs Ginger Farley and Bob Shapiro Thomas J. Feie Meredith George James Huberty and Marc Giles Michael Grant and Carol McMahan Paul and Dedrea Gray, In the Works Fund Adam Grymkowski Bruce and Jamie Hague Jack Hartman J Michael Hemmer Jastromb Family Philanthropic Fund Kevin Kranzusch Robert Liem Rebecca N. Lin Walter Mah Susan Manning and Douglas Doetsch Kathleen Miles Sally and Ted Miller Jasminka Milpak and Daniel Lapish Beverly Moody

Victoria Priola John and Chris Ricketts Lynn Ritchie Janice Rodgers Bonnie and Michael Rothman Solange Sandy Lloyd Charles and Bea Schutz Jacqueline Smalley Michael Solomon and Carol McCardell John Tullsen Paul Waas Judy Wise Anonymous (1) $500–$999 Sid Bala Linda Bierig Robert and Joell Brightfelt Thomas Broderick Howard and Carol Burnett Allison and Clint Chao Hugo and Catherine Chavez Dr. Bridget C. Coughlin Barbara and Michael Davis Joseph Deal Kathy DeHoff Judy Desenis and Scott Peterson Alec Dike Dr. Margaret Dolan Rachel Eisenhauer Salena and Doug Elish Anton Engelmann Elizabeth Fama and John Cochrane Dr. Allison Finnegan Dr. Joel Frader Julie L. Gentes Paula Gilbert Rachel and Devin Gross Ada M. Gugenheim Connie Heller Carole Hildebrandt

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SUPPORT Eloise Hirschey Ed Hu Ronald and Bett Jacquart Marsha Kamen Anne Kaplan Laura and Russell Karlins Karen Kirby Catherine and Douglas Knuth Terrel Lefferts Veronica Levine Katherine Lin Susan Bass and Stephen Marcus James Mazurek Catherine McKegney Bill Melamed and Jamey Lundblad Terry Mostrom Stacey Newman David Oskandy and Martha Garcia Barrafan Larry and Gloria Parker Kesha Pate Dr. Karen Pierce Bonnie Podolsky Eleanor Pollack Helene Principato Alyssa Rapp and Hal Morris Chris and Ann Redgate Barbara Reed Sarah Ricciardi Carleen Schreder and Ralph Musicant Nancy Schroeder and Pamela Anderson

Elizabeth and Steven Schultz Anand Shukla Karen Teitelbaum Wayne Tjaden Mary Toll and William Heimann Michael and Linda Welsh Jay and Donna Williams David Zimmerman Anonymous (2) $250–$499 Dr. Carolyn F. Andrews Sheri Andrews Randy and Lorraine Barba Marc Beem and Susan Berkowitz Erik Birkerts and Alison Ranney Michelle T. Boone Elizabeth Burnett Cassandra Claman William Drendel Cheryl Eavey Richard and Marjorie Ettlinger Molly Flanagan Megan Grant Martin Grochala and Fred Reuland Elizabeth Halajian and Andrew Burdick Carey Heckman William Horton John Jawor Julia Joseph Gina Kennedy Lilia Kiselev

Winston Koh Michael Krauss Quinlan and Kim Kyp-Johnson Mark Larsen Josh Levin Donald L. MacCorquodale Samir Mayekar Jean Millhouser Margaret Mottier Dr. Joseph Muldoon Susan Noel A. Paton Alyssa Peterson Michael Pipkin John Pintozzi Andrew and Judy L. Porte Tara Rodman Anne Rogers Robert and Marsha Rosner Harriet and Irwin Ross Steve Roy and Lloyd Kohler Rosanna Santana Frank Schneider Merry Schroeder Janet Carl Smith and Mel Smith Randel Steele and Margaret Gonzales Marjorie Stinespring Peter Vale Sandra Van Tilburg Betsy Westhoff Karen Wilmot Ann Wise

Hubbard Street appreciates the support of all its donors and regrets the inability to list those who contributed less than $250 due to space limitations.

For any corrections to program name listings please contact the Development Office at giving@hubbardstreetdance.com

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SUPPORT

Gifts in Honor and Memory Tribute and Memorial gifts are a meaningful way to recognize individuals who have a connection to Hubbard Street. For more information or to make a gift please contact the Development Office at giving@hubbardstreetdance.com.

In memory of Edythe R. Cloonan Randy and Lisa White Lauren Wolven and Family

In memory of Byron Pollock and Don Ratner Sheldon Holzman

In honor of James Schulte Sid Bala

In honor of Linda Diamond Shapiro and Mark Shapiro Joanne Howard

In honor of Connie Shiau David J. Briggs

In honor of the retirement of Marilee C. Unruh Karen Kirby

In honor of Linda-Denise Fisher-Harrell Meg and Timothy Callahan Paula Gilbert Randy and Lisa White

In honor of Rich Rodes Kevin Kranzusch

In honor of Caryn Jendro and Phil Fensel Geri Colesworthy In memory of Marge Collens Lew Collens In honor of Lew Collens Gregory O’Leary and Family In honor of James Schulte and Katie Grogan Bridget C. Coughlin In honor of Jacqueline Burnett Nicole I. Dean In honor of the Parkinson’s Project Richard and Marjorie Ettlinger Dale Schlafer In memory of Susan Heston Brian Heston In honor of Camille Rudge Carole Hildebrandt

In memory of Malcolm M. Lloyd, MD Solange Sandy Lloyd In honor of C.C. McKegney Catherine McKegney In honor of Marc Miller Sally and Ted Miller In honor of Katie Grogan Sarah R. Mischner In honor of Abby, Linda-D, David, and all the amazing HS dancers Kesha Marie Pate In honor of Chris Horsman’s birthday Donald Santoski and April Brazell In memory of Claire Bataille Elizabeth Stewart In memory of Frances Glickman Barbara Vertel In honor of Steven Collens’s birthday Terry Holzman

In honor of Belina Mizrahi Shirlee and Douglas Hoffman

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SUPPORT

Contributed Materials and Services Alexandra Wells Arts Consulting Group Athletico Physical Therapy Campbell & Company C5 create with no limits

Chicago Athletic Clubs Microsoft Corporation Taste Media Group Tessitura

Special Services Allied Integrated Marketing Advertising

Jenner & Block Legal Services

Athletico Physical Therapy Official Provider of Physical Therapy

Kathryn Humphreys Educational Consulting

ArtsFMS Financial Management Services

Paul Octavious Season 44 Identity Photography

Chicago Athletic Clubs Official Health Club

Hogan McLaughlin Season 44 Identity Styling

Campbell & Company Development Consulting

Frank Ishman Headshots and Bio Photography

Arts Consulting Group Executive Search and Strategic Planning

Motion/Pictures Dance Project Inside the Studio Production Team

Colin DeJong Accompanist

Taste Media Group 2021 Spotlight Ball Producer

Savills Real Estate

Carol Fox & Associates Public Relations

Quarles & Brady Legal Services

Communiqué Graphic Design Graphic Design

Franczek P.C. Legal Services

Lou Conte Founders Society

Hubbard Street Dance Chicago is grateful to the following individuals who have included us in their estate plans. Our future is more secure because of their generosity.

Meg and Tim Callahan Josephine H. Deutsch* Marge* and Lew Collens Denise Stefan Ginascol and John Ginascol Jane Ellen Murray Edward and Gayla Nieminen Sarah J. Nolan James F. Oates*

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Edna K. Papazian* Byron Pollock Alyssa J. Rapp Richard L. Rodes Landon N. Stigall* Sandra Van Tilburg J. Randall White *deceased

SUPPORT

Endowments Hubbard Street Dance Chicago gratefully acknowledges the generous support of the following donors to the Endowment for Health and Wellness and the Endowment for Artistic Programs, which was established with a generous grant from the Ford Foundation. $100,000 and above Meg and Tim Callahan Pamela Crutchfield The Davee Foundation Josephine H. Deutsch Trust The Ford Foundation Jay Franke and David Herro The John D. and Catherine T. MacArthur Foundation Jim and Kay Mabie Nancy A. Lauter & Alfred L. McDougal Charitable Fund Timothy R. Schwertfeger and Gail Waller $50,000–$99,999 Sara Albrecht John and Caroline Ballantine Deborah Bricker Sidney and Sondra Berman Epstein Sandra and Jack Guthman Mrs. Eleanor Wood Prince William N. Wood Prince The Rhoades Foundation Earl and Sandra Rusnak Randy and Lisa White $25,000–$49,999 Lew Collens Harold Florsheim Paul and Ellen Gignilliat Bernard and Averill Leviton Dale and Dana Machalleck James F. Oates Randy White and Hope Wollman

$10,000–$24,999 Dean Balice Katherine and Christopher Barber Roger and Julie Baskes Joseph and Anne Bohne Janice Y. Burnham and Raymond B. Carney James and Edie Cloonan Joel and Katie Cory Allan and Ellen Drebin Susan and Bryan Erler Trudy Giesel Denise Stefan Ginascol and John Ginascol Mary Louise Gorno Jacqueline Hurlbutt and Norman Waite Sarah J. Nolan Dina Norris and Steve Young Byron and Judy Pollock Sally and Ellis Regenbogen Eleanor and William Revelle Dana and Andre Rice Kevin and Camille Rudge* Warren D. Shifferd Jr. Richard and Ann Tomlinson Robert and Nancy Unglaub Earl and Susan Webb Sallyan Windt $5,000–$9,999 Julia Antonatos Sanchen Barnum William and Donna Barrows The Sidney and June Barrows Foundation Corinne Brophy Carla J. Eyre and Peter F. Gallagher Patti Eylar and Charles Gardner

Judith Grubner and Craig Jobson Stephanie Hickman Linda Hutson Marc Miller and Chris Horsman Pat Pulido Sanchez and Manuel Sanchez John Schwartz Kenneth Shanoff and Steve Young Deborah and Kelly Stonebraker Jack and Niki Tovin $1,000–$4,999 Kathy Catrambone Elizabeth F. Cheney Foundation Carolyn Clift Thomas and Lois Colberg Jocelyn B. Hamlar and Leighton J. Toney Jastromb Family Philanthropic Fund Rachel Corn Kluge and Scott Kluge David Mekemson and Irene Petruniak Maureen Mosh Donald Ratner Patrick J. Schieble Richard Turner and David Jenkins $250–$999 Bill Nygren Foundation Todd Magazine Sheila Owens Steven and Frances Shapiro

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MAY 12–15, 2022 at the Harris Theater for Music and Dance

Hubbard Street Dance Chicago. Photo by Paul Octavious, styling by Hogan McLaughlin.