2015
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Glenn Edgerton Artistic Director
Spring Series March 12–15 Featuring Sarabande + Falling Angels by Jiří Kylián Cloudless Alejandro Cerrudo Gnawa bybyNacho Duato AQuintett Picture of Falling by Crystal Pite HUBBARD STREET PREMIERE byYou William Forsythe (Thursday, Saturday and Sunday) IThe am Impossible, Mister B by Gustavo Sansano WORLD PREMIERE a WorldRamírez Premiere by Alejandro Cerrudo
Falling Angels by Jiří Kylián (Friday only) PACOPEPEPLUTO by Alejandro Cerrudo (Friday only)
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Q&A with Gustavo Ramírez Sansano, choreographer of I am Mister B In dance, most people associate Tchaikovsky’s Suite No. 3 for Orchestra with George Balanchine, who used it for his 1947 ballet Theme and Variations. How long have you wanted to choreograph your own version? I’m always thinking of the classics I might do, although I never actually did my own version of one until Carmen. Quixoteland [in 2011] didn’t really have much to do with [the Imperial Russian ballet Don Quixote]; we used the same music, but the book more as a metaphor. All of the ballets that really spoke to me came from George Balanchine. To me, he was the one who figured out how to use ballet. It doesn’t work so well for telling stories. Ballet was his way of speaking, and he found the perfect setting for it, where the beauty and the energy of the body and more simple concepts could come across. Even though I’ve known for a long time I’ve wanted to do something with Theme and Variations, I didn’t know exactly how. I was listening to the music and imagined a voice, which is how I came to involve Mario [Alberto Zambrano, a former Hubbard Street company member turned novelist], to start working on the text. And then it happened that I would come to choreograph for Hubbard Street through the Harris Theater commission, and [Glenn Edgerton and I] were talking about the other pieces on this program — the Kylián pieces, this Crystal Pite solo and Alejandro’s duet — and it all made sense for my Theme and Variations to happen here and now. But this isn’t your first-ever “Mr. B” piece, correct? Right. I did a duet called 2 and 1 for Mr. B. The “2” referred to the dancers, who were Mario and me, and the “1” was a cellist. It was commissioned to open a gala in Cannes in 2004, Les Étoiles de Ballet, which celebrates awards given by the European dance magazine Ballet2000. Balanchine was the focus that year, as it would’ve been his 100th birthday. What other “Mr. B” pieces would you like to do? Someday I would love to do my version of his Sylvia Pas de Deux. Were you at all intimidated by the Tchaikovsky? It’s such big music, especially that closing Polonaise. A few people have asked me that question since I got here, [Laughs] but no, not really. I have so much love for Balanchine and his work, for his energy and his way, that inspires me to move and to enjoy dance. It’s all positive, for me, to be inspired to make something. There’s no bad feeling. Tell us about coming back to Hubbard Street. You joined the company after being in Nederlands Dans Theater 2…when? In 2000 and 2001 and, after that, I started choreographing. I was in Hubbard Street for only one season, when the [West Loop] building was brand new. I was overloaded in Holland, and it was exciting to get back to enjoying dancing again.
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How do you mean “overloaded”? We danced way too much in NDT 2 — too many shows, all through the summer. I was already exhausted when I got to Chicago. Here I had the space to think about choreographing more, to make that decision which, still, I think I made the right choice, to transition then into being a choreographer. Hubbard Street’s Inside/Out Choreographic Workshop, the annual showcase of dancercreated work, began during that time. Did you participate? Yes, that was the first one. I think I might’ve had something to do with it starting, actually. From the day I arrived at Hubbard Street, I kept asking Jim [Vincent, then Artistic Director], “Let me choreograph something. Anything!” [Laughs] He saw I was already having trouble focusing on being a dancer and, at the end of the season, he created Inside/Out for all of the dancers who wanted to try choreography. I made a piece called Tito, which I later turned into a longer piece for some dancers in Barcelona. The company dancers have been saying two things since you arrived: That they’re having a lot of fun working with you, and that it’s really, really difficult choreography. [Laughs] Well, it’s good that they’re enjoying themselves. I love working with everyone here. Being a choreographer, it’s not so much about having knowledge. It’s about transmitting something, I think, through the body, in conversation. I know what it is to do my movement, in my body, but I don’t know what it is, finally, as choreography, until I teach it to someone else. Dancing is so personal — you need to constantly be checking in with other people while you build it up. Even the very best dancers, like at Hubbard Street: You can’t just give them a piece like this, all at once. And it takes many years of working with many, many different dancers to learn how to help people understand you. How do you like being back in Chicago? No other place has made me feel as welcome. I’ve been in New York a lot in the past year and been complaining about it, comparing it to Chicago. [Laughs] Do you have more choreographic adaptations in the works this year? Yes, I have to premiere The Rite of Spring for Ballet BC [in Vancouver, Canada] and, in Lucerne, [Switzerland] I have a Giselle. The entire Romantic ballet Giselle? [Nods “Yes.”] Where has home been for you, for the last year and a half? It’s supposed to be in Spain, in Alicante, where I’m from — but I never see it. I only change suitcases there.
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You’ve worked with Luis Crespo a few times before, including for CARMEN. maquia, your 2012 reimagining of Bizet’s opera. How did you ask him to approach designing the décor for I am Mister B? I just told him the feeling that I wanted, that sense of a gala. We talked about George Balanchine’s Theme and Variations — something elegant, a celebration — and also court dances. He started with the court dance idea and came up with this whole “torso,” where the top [of the proscenium] has a bow, like the neckties Balanchine would wear, which makes the curtains, then, like his jacket and shirt, in a way.
And that echoes the costume designs. Right. The dancers: They’re all Balanchine, who was commonly known as “Mister B.” In this piece, the stage is like his imagination, his soul.
Above: Set design concept for I am Mister B by Luis Crespo. Below: Costume design concept for I am Mister B by Branimira Ivanova.
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Sarabande Jiří Kylián, Choreography, Set Design, Lighting Design Concept Glenn Edgerton, Urtzi Aranburu, Staging Johann Sebastian Bach, Music, electronically arranged by Dick Heuff Joop Caboort, Lighting Design Realization Joost Biegelaar, Technical Adaptation Joke Visser, Costume Design
Falling Angels Jiří Kylián, Choreography Steve Reich, Music Joop Caboort, Lighting Design, after a concept by Jiří Kylián Joost Biegelaar, Technical Adaptation Joke Visser, Costume Design Roslyn Anderson, Assistant to the Choreographer and Staging Choreographed between 1986 and 1991, Jiří Kylián’s six “black and white” works are among the most influential in Western contemporary dance. In spring 2014, Hubbard Street added two of these works — Falling Angels (1989) and Sarabande (1990) — to three more already in the company’s repertoire: Petite Mort, Sechs Tänze and No More Play. For six men and set to Bach’s second partita for solo violin, with electronically manipulated sound made live by the dancers’ bodies and voices, Sarabande uses indelible stage imagery to suggest the vast range of psychological states experienced throughout a lifetime. Eight women remain onstage throughout Falling Angels, a group continually fractured and recombined by the endlessly inventive patterning of Kylián’s choreography and lighting design, both keenly illustrative of Steve Reich’s phased-percussion score. Sarabande was created for and premiered by Nederlands Dans Theater at the AT&T Danstheater, September 13, 1990, Den Haag, the Netherlands. Falling Angels was created for and premiered by Nederlands Dans Theater at the AT&T Danstheater, November 23, 1989, Den Haag, the Netherlands. Both works were first performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, Chicago, IL, March 13, 2014. Music for Sarabande is by Johann Sebastian Bach: “Partita No. 2 in D Minor,” from the album J.S. Bach: 3 Sonatas & Partitas for Solo Violin, as performed by Gidon Kremer. Electronically arranged by Dick Heuff, courtesy of Dick Heuff. Used by permission of Universal Music Group. Music for Falling Angels is by Steve Reich: “Drumming: Part I,” performed by Third Coast Percussion. By arrangement with Hendon Music, Inc., a Boosey & Hawkes company, publisher and copyright owner. Sarabande and Falling Angels are sponsored by Sara Albrecht and Richard L. Rodes. Additional support is provided by Choreographer’s Circle Member Sarah J. Nolan.
INTERMISSION
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Spring Series 2015
Cloudless Alejandro Cerrudo, Choreography Nils Frahm, Music Burke Brown, Lighting Design Branimira Ivanova, Costume Design A pair of women echo, reflect and shadow each other in Alejandro Cerrudo’s intimate, encrypted first duet for female dancers. Berlin-based composer Nils Frahm’s progression from classical student — scholar Nahum Benari was an early teacher — to contemporary creative artist mirrors Cerrudo’s own path into and through choreography. Created for and premiered by Hubbard Street Dance Chicago October 10, 2013 at the Harris Theater for Music and Dance, Chicago, IL. Music by Nils Frahm: “Less” and “Kind,” from the album Felt. Courtesy of Erased Tapes Music. Used by permission of Manners McDade. Cloudless is funded in part by 2013 Fall Series sponsors Marge and Lew Collens, J.B. and M.K. Pritzker Family Foundation, and John and Jeanne Rowe. Individual sponsors are Dirk Denison and David Salkin. Additional support is provided by Choreographer’s Circle Members Meg and Tim Callahan.
PAUSE
A Picture of You Falling Crystal Pite, Choreography and Text Owen Belton, Music Kate Strong, Voice Alan Brodie, Lighting Design Linda Chow, Costume Design Peter Chu, Staging Hubbard Street’s debut in choreography by acclaimed artist Crystal Pite, A Picture of You Falling exists in two versions, both of which premiered in 2008: a duet for dancers Peter Chu and Anne Plamondon, and this solo, first performed by Pite herself for the Governor General’s Performing Arts Award Gala in Ottawa. “I am fascinated by the shared narratives that live in our bodies — the familiar, repetitive storylines that move across cultures and generations — and the body’s role as their illustrator,” says Pite. “I’m curious about the ways in which the body can convey profound meaning through the simplest of gestures, and how distortion, iteration and analysis of familiar human action provide opportunities to recognize and re-frame ourselves in one another.” Created and first performed by choreographer Crystal Pite at the Governor General’s Performing Arts Awards Gala at the National Arts Centre in Ottawa, Ontario, Canada, May 3, 2008. Duet version further adapted for and premiered by Kidd Pivot as part of The You Show, premiered at Künstlerhaus Mousonturm, Frankfurt, Germany, November 4, 2010. Solo version first performed by Hubbard Street Dance Chicago March 12, 2015 at the Harris Theater for Music and Dance, Chicago, IL. Original music by Owen Belton. A Picture of You Falling is sponsored by Choreographer’s Circle Member Sara Albrecht. Special thanks to Jim French, Nederlands Dans Theater and NDT alumnus Jiří Pokorný, and Peter Chu.
INTERMISSION
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I am Mister B Gustavo Ramírez Sansano, Choreography Pyotr Ilyich Tchaikovsky, Music Mario Alberto Zambrano, Text Jared B. Moore, Lighting Design Luis Crespo, Set Design Branimira Ivanova, Costume Design “It’s very special for me to return to Chicago, a city that’s shown so much love and support for my work, and to Hubbard Street, where I danced early in my career as a performer. This occasion has inspired me to create a little celebration of dance, in tribute to George Balanchine, whose Theme and Variations was a favorite work of mine to perform when I was a ballet dancer. With I am Mister B, I hope to keep the energy and feeling of that classic piece alive.” —Gustavo Ramírez Sansano This original work for Hubbard Street’s ensemble, set to the final movement of Pyotr Ilyich Tchaikovsky’s third suite for orchestra in G major (op. 55, 1884), reunites the creative team behind Ramírez Sansano’s 2012 choreographic interpretation of Bizet’s opera, CARMEN.maquia. Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, Chicago, IL, March 12, 2015. Music by Pyotr Ilyich Tchaikovsky: “Theme & Variations: Suite No. 3 in G, Op. 55, IV: Theme,” and “Theme & Variations: Suite No. 3 in G, Op. 55, IV: Variations I–XII,” from the album Tchaikovsky: Onegin, Theme and Variations, Ballet Imperial. As performed by Lovro von Matačič and Orchestra del Teatro alla Scala, Milano. Courtesy of Warner Music Group. I am Mister B was commissioned by the Harris Theater for Music and Dance and the See the Dance Consortium, with additional support from the Imagine campaign provided by The Andrew W. Mellon Foundation. Gustavo Ramírez Sansano, foreground, in rehearsal with Hubbard Street Dancers Ana Lopez, left, and David Schultz. Photo by Todd Rosenberg.
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CHOREOGRAPHER PROFILES Alejandro Cerrudo (Dancer and Resident Choreographer) was born in Madrid, Spain and trained at the Real Conservatorio Profesional de Danza de Madrid. His professional career began in 1998 and includes work with Victor Ullate Ballet, Stuttgart Ballet and Nederlands Dans Theater 2. Cerrudo joined Hubbard Street Dance Chicago in 2005, was named Choreographic Fellow in 2008, and became the company’s first Resident Choreographer in 2009. Thirteen works choreographed to date for Hubbard Street include collaborations with the Chicago Symphony Orchestra and Nederlands Dans Theater. These pieces and additional commissions are in repertory at companies around the U.S. as well as in Australia, Denmark, Germany and the Netherlands; touring engagements have brought his work still further abroad, to audiences in Algeria, Canada, Morocco and Spain. In March 2012, Pacific Northwest Ballet invited Cerrudo to choreograph his first work for the company, Memory Glow, upon receiving the Joyce Theater Foundation’s second Rudolf Nureyev Prize for New Dance. Additional honors include an award from the Boomerang Fund for Artists (2011), and a Prince Prize for Commissioning Original Work from the Prince Charitable Trusts (2012) for his acclaimed, first evening-length work, One Thousand Pieces. Cerrudo is one of four choreographers invited by New York City Ballet principal Wendy Whelan to create and perform original duets for “Restless Creature,” and he was recently announced the 2014 USA Donnelley Fellow by United States Artists. Photo by Jim Newberry. Peter Chu (Staging, A Picture of You Falling) began training as a competitive gymnast before nurturing his artistry at Dussich Dance Studio on Florida’s Merritt Island. Chu pushed further into his study of technique while making his first forays into choreography under the direction of Benjamin Harkarvy at the Juilliard School in Manhattan, where he was awarded the Hector Zaraspe Prize for Choreography upon completion of his BFA. He has performed and toured internationally with Edgar Zendejas’ ezdanza, Crystal Pite’s Kidd Pivot, and BJM Danse, formerly Les Ballets Jazz de Montréal; his commercial work includes A New Day in Las Vegas, starring Celine Dion, and the lead role in singer Christina Perri’s music video for “Jar of Hearts.” Choreographic credits include two seasons of So You Think You Can Dance on Fox TV and the ARTV series Meneuse de Claques in Québec; original works for Carolyn Dorfman Dance Company, Orlando Ballet Theatre, Houston Met Dance Company, Nederlands Dans Theater’s Summer Intensive and the Perry-Mansfield New Works Festival; and Naomi Stikeman’s Çaturn, consulted by Robert Lepage. Chu has guest-taught and served as faculty for numerous programs and organizations throughout Canada and the U.S. including BODYTRAFFIC, the 24 SEVEN Dance Convention, Western Michigan University, the Movement Invention Project and Springboard Danse Montréal. In 2008, Chu formed his own project-based company, chuthis, which has offered intensive programs in Fresno and Costa Rica, and presented its popular production Nothing Sticks in Vancouver, Las Vegas and New York City. He recently commenced a new solo while in residence at Vancouver’s theater and gallery for contemporary art, The Cultch; the project premieres in spring 2015 at the West Las Vegas Library Theatre. Visit chuthis.net to learn more. Photo by Levi Walker. Choreographer Jiří Kylián was born in 1947 in Prague, Czechoslovakia. He enrolled in the School of the National Ballet Prague at age nine and, in 1962, was accepted into the Prague Conservatory, where he trained with Zora Semberova and other instructors, and created his first two works of choreography. In 1967, Kylián received a scholarship to study at the Royal Ballet School in London, where he met choreographer John Cranko, who invited Kylián to join Germany’s Stuttgart Ballet. Kylián remained with the company as a dancer and choreographer through Cranko’s sudden passing in 1973 and the subsequent direction of choreographer Glen Tetley. After creating three works for Nederlands Dans Theater as a guest choreographer, Kylián joined the company as co–artistic director, with Hans Knill. The creation of Sinfonietta for NDT to perform at the Spoleto Festival–USA in 1978 heralded Kylián’s arrival as a major international artist; his Symphony of Psalms premiered the same year. In the early 1980s, Kylián’s travels to Australia to study aboriginal dances inspired new ideas in his choreography and the works Stamping Ground and Dream Time. Kylián and NDT’s founding managing director Carel Birnie created a second ensemble, NDT 2, for early-career artists, and
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SPRING SERIES between 1980 and 2000, NDT 1 commissioned Christopher Bruce, Mats Ek, William Forsythe, Ohad Naharin and many more, in addition to presenting masterworks by Hans van Manen, Glen Tetley and others. In 1990, he launched NDT 3, for accomplished dancers over the age of 40. Kylián passed the artistic directorship of NDT’s three ensembles to the next generation of leadership in 1999 while remaining choreographer for the company through 2009. Kylián has created more than 100 original works to date; recent projects include the film Between Entrance & Exit (2013). Kylián’s honors and recognitions include the ranks of Commander of the Legion of Honor (France) and Officer of the Order of Oranje Nassau (the Netherlands), a Golden Lion Award for Lifetime Achievement from the Venice Biennale, three Nijinsky Awards for Choreography (Monaco), two Prix Benois de la Danse prizes (Moscow, Berlin), two Sir Laurence Olivier Awards (London), a Knight’s Cross from President Aleksander Kwaśniewski (Poland), a cultural award for Arts and Sciences from Queen Beatrix of the Netherlands, a Golden Medal for Outstanding Merits from President Václav Havel of the Czech Republic, honorary doctorates from the Juilliard School (United States) and the Music Academy Prague (Czech Republic), La Medaille d’Or from the city of Lyon (France), an award for Exceptional Achievements in Choreography and Dance (Czech Ministry of Culture), an Angel Award from the Edinburgh International Festival, the First Cultural Award of the City of the Hague (the Netherlands), a Dance Magazine Award, a Carina Ari Medal (Stockholm), the Dvořák Award (Prague), the West End Theatre Award (London), the Hans Christian Andersen Ballet Award (Copenhagen) and the Prix Italia for Video (Torino). Visit jirikylian.com to learn more. Photo copyright Mike van Sleen. Born in Terrace, British Columbia and raised on the Canadian west coast, choreographer and performer Crystal Pite is a former company member of Ballet British Columbia and William Forsythe’s Ballett Frankfurt. Pite’s professional choreographic debut was in 1990, at Ballet British Columbia; since then, she has created more than 40 works for companies such as Nederlands Dans Theater, Cullberg Ballet, Ballett Frankfurt, the National Ballet of Canada, Les Ballets Jazz de Montréal, Cedar Lake Contemporary Ballet, Ballet British Columbia, and Louise Lecavalier / Fou Glorieux, plus collaborations with the Electric Company Theatre and acclaimed director Robert Lepage. In 2002, Pite formed the company Kidd Pivot, which integrates movement, original music, text and rich visual design, balancing sharp exactitude with irreverence and risk. Kidd Pivot tours nationally and internationally, performing critically acclaimed works including Dark Matters, Lost Action, The You Show and The Tempest Replica. Pite is the recipient of the Banff Centre’s Clifford E. Lee Award (1995), the Bonnie Bird North American Choreography Award (2004), the Isadora Award (2005), two Dora Mavor Moore Awards (2009 and 2012), a Jessie Richardson Theatre Award (2006) and the Governor General of Canada’s Performing Arts Award, Mentorship Program (2008). Pite also received the 2011 Jacob’s Pillow Dance Award, the inaugural Lola Award in 2012, and the Canada Council’s 2012 Jacqueline Lemieux Prize. Visit kiddpivot.org to learn more. Photo by Michael Slobodian. Gustavo Ramírez Sansano (San Fulgencio, Spain) was artistic director of Chicago’s Luna Negra Dance Theater from 2009–13 following four years directing proyectoTITOYAYA in Valencia, Spain. Awards and recognitions he’s received for his choreography include first prizes at the Ricard Moragas competition in Barcelona, the Prix Dom Pérignon in Hamburg, and Las Artes Escénicas de la Comunidad Valenciana. International companies that have commissioned new works by Ramírez Sansano include Balé Teatro Guaíra, Ballet BC, Ballet Hispanico, Ballet Junior de Genève, BalletMet Columbus, Balletto dell’Esperia, Budapest Dance Theater, Compañía Nacional de Danza, Gyori Ballet, the Hamburg Ballet, IT Dansa, Nederlands Dans Theater, Norrdans, Otra Danza and TanzTheater München. During his career onstage, Ramírez Sansano performed works by choreographers Jacopo Godani, Johan Inger, Jiří Kylián, Paul Lightfoot, Hans van Manen, Ohad Naharin, Victor Ullate and others, often originating roles, at Ballet Joven de Alicante, Ballet Contemporáneo de Barcelona, Ballet de la Comunidad de Madrid, Nederlands Dans Theater 2 and Hubbard Street Dance Chicago. Ramírez Sansano was named one of 15 choreographers to watch by POR LA DANZA magazine for its 15th anniversary, one of “25 to Watch” by Dance Magazine, and a Chicagoan of the Year in the arts and entertainment by the Chicago Tribune in 2012. Photo by Todd Rosenberg.
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THIRD COAST PERCUSSION Sean Connors Robert Dillon
Peter Martin David Skidmore
Chicago’s Third Coast Percussion returns to Hubbard Street for the Spring Series, performing Steve Reich’s Drumming live for our performances of Falling Angels. Hailed by The New Yorker as “vibrant” and “superb,” Third Coast Percussion explores and expands the extraordinary sonic possibilities of the percussion repertoire, delivering exciting performances for audiences of all kinds. Since its formation in 2005, Third Coast Percussion has gained national attention with concerts and recordings that meld the energy of rock music with the precision and nuance of classical chamber works. These “hard-grooving” musicians (The New York Times) have become known for ground-breaking collaborations across a wide range of disciplines, including concerts and residency projects with engineers at the University of Notre Dame, architects at the Frank Lloyd Wright School of Architecture, astronomers at the Adler Planetarium, and more. The ensemble enhances the performances it offers with cutting-edge media, including free iPhone and iPad apps that allow audience members to create their own musical performances and take deeper looks at the music performed by Third Coast Percussion. In 2013, Third Coast Percussion became Ensemble-in-Residence at the University of Notre Dame’s DeBartolo Performing Arts Center, and had the honor of creating the center’s first permanent, progressive residency program. The ensemble also performs multiple recitals annually at Notre Dame, as part of the DeBartolo’s Presenting Series season. Third Coast’s passion for community outreach includes a wide range of residency offerings while on tour, in addition to a long-term residency with the Davis Square Park Community Band on Chicago’s South Side. Visit
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thirdcoastpercussion.com to learn more.
Third Coast Percussion in performance. Photo by Barbara Johnson, copyright the University of Notre Dame. Spring Series 2015
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Lou Conte Dance Studio scholarship recipients Sam Gardner, left, and Giovanna Ventola. Photo by Todd Rosenberg. Spring Series 2015
SPOTLIGHT BALL HONORING WILLIAM FORSYTHE and ARCHER DANIELS MIDLAND COMPANY
SAVE THE DATE June 1, 2015 at 6pm Fairmont Chicago Millennium Park Honorary Chairs Mayor Rahm Emanuel and Amy Rule Tables and tickets available now! To purchase tickets or tables, please email us at events@hubbardstreetdance.com or call us at 312-850-9744 ext. 130. Choreographer William Forsythe. Photo by Dominik Mentzos.
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SEASON
FALL SERIES OCTOBER 15–18, 2015
WINTER SERIES DECEMBER 10–13, 2015
SPRING SERIES March 17–20, 2016
SUMMER SERIES June 9–12, 2016
THRILL YOUR BEATING HEART Performing at
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Andrew Alexander CEO/Executive Producer Glenn Edgerton Artistic Director
Kelly Leonard Executive Vice President
Jason D. Palmquist Executive Director
Fall Series October 15–19 Gnawa by Nacho Duato Quintett by William Forsythe The Art of Falling The Impossible, a World Premiere by Alejandro Cerrudo (Thursday, Saturday and Sunday)
Billy Bungeroth, Director Falling Angels by Jiří Kylián (Friday only)
PACOPEPEPLUTO by Alejandro Cerrudo (Friday only)
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Hubbard Street Dancer Alice Klock. Photo by Quinn B Wharton. hubbardstreetdance.com
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This page: Hubbard Street Dancer Alicia Delgadillo watches at The Second City Mainstage before a preview of the collaboration in May 2014. Photo by Quinn B Wharton. Cover: Hubbard Street Dancers Jessica Tong, left, and Jonathan Fredrickson with Tim Mason, Head Writer and Ensemble. Photo by Todd Rosenberg.
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Fall Series 2014
Roundtable Discussion Between Hubbard Street + The Second City One month before opening night, eight collaborators on this project met between rehearsals at the Hubbard Street Dance Center. What follows is a partial transcript of their conversation. HOW DID THIS PROJECT BEGIN? KELLY LEONARD This project started with a phone call that I made, after a project we’d done with the Lyric Opera of Chicago that was very successful, as a collaboration between two very different artistic entities. When Nate [DuFort, producer] and I and our team got together to ask, “What’s next?” immediately the answer was “Dance.” We then asked, “But who?” and again, immediately, everyone said “Hubbard Street.” So I called over and talked to Jason Palmquist and Glenn Edgerton. They both said, “Were your ears burning? Because we were just talking about The Second City.” GLENN EDGERTON It’s true. Jason came into my office and said, “The Second City just called. Let’s do something with them.” It was an immediate synthesis. KL What I didn’t know — because I didn’t know much about contemporary dance at all — is how improvisational it is, how it’s in the DNA of their work, too. So we met at an incredible place. KRISTEN BROGDON What’s been unique about this collaboration, compared to how you usually work at The Second City? BILLY BUNGEROTH I saw Hubbard Street for the first time performing One Thousand Pieces [by Alejandro Cerrudo] and loved it. I immediately wanted to get across the weight of your work, not just approach it as, “Alright, let’s think up a bunch of jokes about dancing.” Our audiences deserved more than that from us.
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Fall Series 2014
TIM MASON I saw it, too, and I thought, “Man, the last thing that I want to do is take the piss out of this.” I looked at One Thousand Pieces and thought, “Wow: There’s a whole different way of talking here.” NATE DuFORT The first time we were in the studio, to watch Robyn Mineko Williams choreograph, I was amazed at how she could grab just a single motion, pull it out, ask the dancers to manipulate it, turn it into something else — without saying a single word to them — then plug the new version of that single moment back into the rest of the dance. That mapped exactly to how we work, too, but outside of language. JULIE NICHOLS I expected to walk into something that felt like a ballet class, that matched the music beat-for-beat, like, “One, two, three, four, pas de bourrée, pirouette!” So it was surprising to learn how the dancers actually worked, how often they create movement with no music and describe choreography through exaggerated gestures and sound effects like, “Whoosh!” It was so much looser and more felt than I anticipated, and the dancers are so sensitive. They connect so instantly with musical ideas which, in retrospect, it’s like, “Oh, of course.” That ended up being huge in terms of how we were able to connect creatively with one another.
HOW HAS HUBBARD STREET RESPONDED TO WORKING WITH TEXT? TERENCE MARLING For us choreographers, the whole notion of working from a script is somewhat new, and it’s helped a lot in terms of knowing where a scene is headed and what effect we’re going for. TM On the flip side, Alejandro [Cerrudo] said, “Oh, I never count,” and I said, “Excuse me?” [Laughs] Going into this project, I’d had this fear that I’d always have to be counting everything and was stressing out about it. So that was a relief. BB As far as giving the dancers a “voice,” it’s really been no different from giving voice within the kind of social satire we do at The Second City, in which a character might be a plumber or a politician or whatever. It’s still that challenge of finding what it is about a specific character that’s both ridiculous and relatable at the same time. Roundtable discussion at the Hubbard Street Dance Center, from left: Terence Marling, Julie B. Nichols, Nate DuFort, Kelly Leonard, Glenn Edgerton, Billy Bungeroth, Kristen Brogdon and Tim Mason. Still from video by Quinn B Wharton.
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About Hubbard Street Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Celebrating its 37th season in 2014–15, Hubbard Street continues to be an innovative force, supporting its creative talent while presenting repertory by major international artists. Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio at LaSalle and Hubbard Streets in 1977, when Lou Conte gathered an ensemble of four dancers to perform in senior centers across Chicago. Barbara G. Cohen soon joined the company as its first Executive Director. Conte continued to direct the company for 23 years, during which he initiated and grew relationships with both emerging and established artists including Nacho Duato, Daniel Ezralow, Jiří Kylián, Ohad Naharin, Lynne Taylor-Corbett and Twyla Tharp. Conte’s successor Jim Vincent widened Hubbard Street’s international focus, began Hubbard Street’s collaboration with the Chicago Symphony Orchestra and cultivated growth from within, launching the Inside/Out Choreographic Workshop and inviting Resident Choreographer Alejandro Cerrudo to make his first work. Gail Kalver’s 23 years of executive leadership provided continuity from 1984 through the 2006–07 season, when Executive Director Jason Palmquist joined the organization.
Hubbard Street Dancers Shan Bai, Jamy Meek and Leisa Beemer, from left, in Sechs Tänze by Jiří Kylián, 1998. Photo by William Frederking.
Choreographer Twyla Tharp works with Ron De Jesús during the creation of I Remember Clifford in Hubbard Street’s 218 South Wabash Avenue studio (now the Lou Conte Studio of Roosevelt University), 1995. Archival photo.
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Glenn Edgerton became Artistic Director in 2009 and, together with Palmquist, moved this legacy forward on multiple fronts. Inside/Out is now part of a three-pronged program for building repertoire, the Choreographic Development Initiative, aimed at being a national model for artistic development while proactively diversifying contemporary concert dance. Partnerships with the CSO, Art Institute of Chicago and other institutions keep Hubbard Street deeply connected to its hometown. To the company’s repertoire, Edgerton has extended relationships with its signature choreographers while adding significant new voices such as Kyle Abraham, Mats Ek, Sharon Eyal, Alonzo King and Victor Quijada. The main company’s 18 members comprise one of the only ensembles in the U.S. to perform all year long, domestically and around the world, while two nationally renowned Summer Intensive Programs bring young artists into its ranks. Hubbard Street 2, its second company for early-career artists, was founded in 1997 by Conte and Julie Nakagawa. Now directed by Terence Marling, HS2 cultivates young professional dancers, identifies next-generation choreographers, and performs domestically and abroad in service of arts education, collaboration, experimentation and audience development. Hubbard Street’s Education and Community Programs are nationwide benchmarks for arts experience and appreciation in schools, impacting the lives of thousands of students. In 2009, Hubbard Street launched Youth and Family Programs to teach dance with an emphasis on creative expression. In 2014, Adaptive Dance Programs for youth with autism spectrum disorder and physical disabilities joined the first dance-based program in the Midwest for those affected by Parkinson’s disease. At the Lou Conte Dance Studio — where Hubbard Street began in 1974 — workshops and master classes allow access to expertise, while a broad variety of weekly classes offer training at all levels in jazz, ballet, modern, tap, African, hip-hop, yoga, Pilates®, Zumba® and more. Visit hubbardstreetdance.com to learn more.
Hubbard Street Dancers in Walking Mad by Johan Inger, 2008, from left: Benjamin Wardell, Jamy Meek, Kevin J. Shannon, Terence Marling, Jason Hortin and Meredith Dincolo. Photo by Todd Rosenberg.
Hubbard Street Dancers Alejandro Cerrudo, Shannon Alvis and Terence Marling in The Set by Lucas Crandall, 2008. Photo by Todd Rosenberg.
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Glenn Edgerton, Artistic Director
Summer Series June 5–8
Gnawa by Nacho Duato Quintett by William Forsythe (Thursday, Saturday and Sunday) The Impossible, a World Premiere by Alejandro Cerrudo Falling Angels by Jiří Kylián (Friday only) PACOPEPEPLUTO by Alejandro Cerrudo (Friday only)
Thank you to our Season 36 Sponsors
Official Provider of Physical Therapy
Official Health Club
Lead Community Programs Sponsor
Hubbard Street Dancers Jonathan Fredrickson and Ana Lopez. Photo by Todd Rosenberg. hubbardstreetdance.com
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A letter from Glenn Edgerton, Artistic Director Whether you’re a longtime subscriber or just settling in for your first Hubbard Street performance, I’m glad you’re with us and can’t wait to share this Summer Series with you. Each year, our June program concludes our main company’s performance season — but it’s also the time of year when many exciting things are just getting started. The summer months are packed with dance festivals and, just two weeks ago, we helped kick things off by opening the Spoleto Festival USA in Charleston, South Carolina. Next month, we return to the prestigious, historic Jacob’s Pillow Dance Festival in Massachusetts, then, in August, we return home for the eighth annual Chicago Dancing Festival and Dance for Life 2014. We’ve all heard the joke about Chicago’s “two seasons: winter and construction.” Here at Hubbard Street, summer is a time for building, too. From June through August, our West Loop facility is filled with young people participating in our Youth Dance Camps and Chicago Summer Intensive and Teen Intensive programs. Our company members, guest faculty and teaching artists connect with more than 1,000 growing artists from across the country and throughout the city. It’s always exciting to work with our next generation of dancers, to see how they’re expressing themselves through movement and to hear what’s on their minds. Preprofessional dancers ages 14–17 join us in June and July on campus at the University of Iowa, for the Iowa City Summer Intensive, now in its third successful year. Between touring engagements, we begin building new works in preparation for next season and give our company dancers the opportunity to focus on their craft. Hubbard Street’s Inside/Out Choreographic Workshop, part of the Choreographic Development Initiative, celebrates its 13th annual showcase next weekend at the University of Illinois at Chicago. We’ll be putting finishing touches on a new work by MacArthur Fellow Kyle Abraham, a Chicago Dancing Festival commission receiving its world premiere on August 20 at the Harris Theater. And the creative process continues for our exciting collaboration with The Second City, one of the finest and most productive incubators of sketch and improvised comedy in the world. I hope you’re here in the theater when we debut the project October 16–19. All of those classes, the studio time, the planning and pre-production are the foundation of who we are as a company, helping make evenings like the one you’re about to experience possible. Thanks again for being here — and maybe we’ll see you this summer. Warmly,
Glenn Edgerton Artistic Director Hubbard Street Dance Chicago
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Glenn Edgerton, Artistic Director
Spring Series March 13–16 FOUR WORKS BY JIŘÍ KYLIÁN 27'52" Petite Mort Sarabande
Company premiere
Falling Angels Company premiere
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Spring Series 2014
Cover and Above: Hubbard Street Dancer Meredith Dincolo. Photos by Todd Rosenberg.
Q&A with Glenn Edgerton, Artistic Director What is Hubbard Street’s history with Jiří Kylián, the first choreographer to receive a full repertory program from Hubbard Street? We’ve been building his repertoire here for a while, in an ongoing process. First Sechs Tänze, then Petite Mort, then No More Play, 27'52", and now Falling Angels and Sarabande. Our founder Lou Conte started that relationship, which is one that I have, too, having been at Nederlands Dans Theater (NDT), first as a dancer, then as director.
Where were you in 1998, when Lou Conte first brought Kylián’s work to Hubbard Street? I was in Holland, at NDT. I’d heard of Hubbard Street but hadn’t seen the company yet. Jim Vincent [Hubbard Street Artistic Director from 2000–09] started to bring more work from Holland to Chicago — which became a question for me, directing NDT: How much did we want to let out? I had to manage this relationship from that end, had to make sure NDT could continue to tour Kylián’s works, and so had to be a little…possessive about them. [Laughs]
You danced Sarabande yourself. What do you remember about its creation? It was fun. There are so many things Jiří tried that didn’t make it into the piece. He wanted it wild, manic — a little crazy. And it still has those qualities, but he brought it into focus. We were asked to vocalize, which was a blast.
About the sound effects Dick Heuff created: Was he there from the beginning? Not that I recall. I don’t remember working on that part of it until getting onstage — and that was often Jiří’s way. We’d be in the studio and he’d be putting it all together, but you didn’t know until you got to the theater that there would be, say in Bella Figura [1995], fire onstage and curtains closing spaces, changing the stage space the whole time.
What was it like to be surprised by those things, by the production elements Kylián would add? [Gasps] “Wow.” It was awe-inspiring. I’d realize, “This makes total sense,” but it would never be something I could predict. It was always wonderful to watch a new work of his unfold.
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Falling Angels, for eight women, premiered the year before. Was there a sense that an all-male piece would follow? No, we didn’t know. I do think he got flak from some of the guys, like, “When are you going to make a piece for us?” [Laughs] Maybe he made Sarabande in part as a response to them, but it’s hard to say. You never know with Jiří. It’s easy to assume he makes master plans because, in the end, his works present such clear, overarching visions. To watch the works come out, one after another, each so beautifully laid out and all connected in such intriguing and unexpected ways: It was like watching someone unroll a fascinating carpet, or a scroll.
What can you say about these four works as a set? I think it shows Jiří’s range, which I appreciate about him and about any choreographer. You will see a thread throughout, but the atmosphere, the feel of each piece, is totally unique. He’s always trying something new, creating a different environment for the stage, making it interesting and challenging for the dancers, as well as for the audience. Consequently, you can see how it’s also about him challenging himself.
Hubbard Street Dancer Ana Lopez, foreground, and Resident Choreographer Alejandro Cerrudo in 27'52" by Jiří Kylián. Photo by Todd Rosenberg.
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How has your understanding of these works evolved since you first saw or performed them? I’m loving being back in the studio with them and passing on what I know. My feeling for Kylián has always been that his works deliver an emotional impact that you can’t describe. Early on, in the late ’80s, I was touring Europe and a friend and I took a side trip to see NDT perform Symphony of Psalms [1978], to the Stravinsky score. I cried like a baby afterward, for 20 minutes — couldn’t get out of my chair. I was embarrassed, but just so struck by what I’d seen. I’ll never forget that.
What does a dancer need to perform Kylián’s work? There’s an internal dialogue that goes on when you’re performing them, a balancing act you have to do between honoring the choreography and honoring the moment. The counting of the rhythms in Falling Angels, keeping track of all of their changes, for example, or the movements with the foils in Petite Mort: You can do everything “right,” with perfect technique, handle your foil exactly the way you’re supposed to, be organized and all set, and the thing can still just fly off with a life of its own. [Laughs] Dancing a piece of his, you’re on this journey, this adventure, from beginning to end, and if you lose control of it, how do you respond? I believe that’s the lesson of his work: It teaches you how to maintain a kind of serenity about the moment. Which is why 27'52" has the title it does: The piece lasts 27 minutes and 52 seconds, and you can’t skip a beat. “You can’t miss a heartbeat,” Jiří would say. You have to gather all of the power, emotion, romanticism and exactitude within yourself, without letting any one of those things take over the rest. The challenge is to perform that contrast between complete freedom and complete clarity. Like the sound that the men’s foils make in Petite Mort: that “Whoosh!” through the air: That’s what Jiří’s works are like. They cut so deeply, and quickly, but with such refinement.
Hubbard Street Dancers Ana Lopez, foreground, and Kevin J. Shannon in 27'52" by Jiří Kylián. Photo by Todd Rosenberg.
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THIRD COAST PERCUSSION Sean Connors Robert Dillon
Peter Martin David Skidmore
Chicago’s Third Coast Percussion joins Hubbard Street for the Spring Series, performing Steve Reich’s Drumming live for our performances of Falling Angels. Hailed by The New Yorker as “vibrant” and “superb,” Third Coast Percussion explores and expands the extraordinary sonic possibilities of the percussion repertoire, delivering exciting performances for audiences of all kinds. Since its formation in 2005, Third Coast Percussion has gained national attention with concerts and recordings that meld the energy of rock music with the precision and nuance of classical chamber works. These “hard-grooving” musicians (New York Times) have become known for groundbreaking collaborations across a wide range of disciplines, including concerts and residency projects with engineers at the University of Notre Dame, architects at the Frank Lloyd Wright School of Architecture, astronomers at the Adler Planetarium, and more. The ensemble enhances the performances it offers with cutting edge new media, including free iPhone and iPad apps that allow audience members to create their own musical performances and take a deeper look at the music performed by Third Coast Percussion. In 2013, Third Coast Percussion became Ensemble-in-Residence at the University of Notre Dame’s DeBartolo Performing Arts Center, and had the honor of creating the center’s first permanent, progressive residency program. The ensemble also performs multiple recitals annually at Notre Dame, as part of the DeBartolo’s Presenting Series season. Third Coast’s passion for community outreach includes a wide range of residency offerings while on tour, in addition to a long-term residency with the Davis Square Park Community Band on Chicago’s South Side.
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Share the magic of our performances with your group Groups of ten or more receive special pricing, additional perks and outstanding access.
Hubbard Street Dance Chicago in Gnawa by Nacho Duato (2005). Photo by Todd Rosenberg.
To book your next group event contact Sidney Cristol, group concierge, at 312-850-9744, ext. 164 or scristol@hubbardstreetdance.com.
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DON’T SLIP UP AND MISS THE FALL SERIES. SUBSCRIBE. It’s the only way to be absolutely certain you’ll have a seat for this remarkable collaboration, October 16–19 at the Harris Theater.
See the rest of our 2014–15 season dates and subscribe now, online at hubbardstreetdance.com/subscribe or call 312-850-9744
Major support for this project is provided by Jack and Sandy Guthman through the Imagine Campaign at the Harris Theater for Music and Dance, with additional funding from The Walter E. Heller Foundation.
Glenn Edgerton, Artistic Director
Winter Series December 12–15
One Thousand Pieces by Alejandro Cerrudo
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Q&A with Alejandro Cerrudo, choreographer of One Thousand Pieces Where does the choreographic process start for you? Excitement. Then I look for music. After I find the music, I panic. [Laughs] And then I keep thinking and dreaming. I really try to just be silly in my head, be over-the-top in my head — even tacky, if I need to be. I allow myself all of that. Then I make choices.
How are you responding to Chagall’s America Windows? The evening is inspired by the windows, but I’m not making them in dance. I might give you another perspective. You might look at the windows in a different way, after you see my piece. That would be a huge compliment.
As a Spanish choreographer living and working in America, what do Chagall’s windows mean to you? People might think, “What’s this Spanish guy doing, making a work about America Windows?” But I feel completely comfortable. The windows aren’t [just] about America. They’re about character, painting, cultural freedom, celebration. They’re an homage and they were a gift. Chagall was a guest in this country and America treated him well. I’ve been adopted, in a way, by America, too. I’m not comparing myself with such an amazing artist as Chagall, but I’m very thankful to Chicago. I want to give a gift, too.
What’s a priority in your process? One thing I’m always very aware of — and this comes from my experiences with [Spring Series choreographer Jiří] Kylián — is the atmosphere in the studio. Creating that perfect working environment, where everybody feels involved and appreciated and feels like they matter. I forget sometimes and just think, “This piece has to be good.” But it has to be fun, also. The more immersed you are in a creative environment, the more creative you’re going to be.
How do you reconcile being a Hubbard Street dancer and its Resident Choreographer? I love dancing and I’m not ready to stop yet. It’s valuable to stay connected to how dancers feel, to what being a dancer is. The more you dance, the easier it is to grow as a choreographer. Excerpted from the October 2012 issue of Dance Magazine, a comprehensive source for global news from the field since 1927. For the complete version of this interview and much more, visit dancemagazine.com. All text this page copyright Dance Magazine 2012.
Alejandro Cerrudo. Photo by Todd Rosenberg.
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Winter Series 2013
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Tables and tickets available now.
Save the Date Spotlight Ball honoring Mikhail Baryshnikov May 19, 2014 6 pm
Thank you to our Winter Series “ Sponsor
I look at Hubbard Street Dance Chicago’s history and truly appreciate its goals and mission. The company has roots in classic forms and techniques, but is always evolving, always looking for something new in dance. Hubbard Street’s directors and administrators nurture the next generation of dance artists, and believe strongly in the importance of arts education. —Mikhail Baryshnikov
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To purchase tables or tickets, contact Jeanne Newman, Manager of Individual Giving and Special Events: jnewman@hubbardstreetdance.com or 312-850-9744 ext. 130 For more information visit hubbardstreetdance.com/spotlight Mikhail Baryshnikov. Photo by Mark Seliger, 2013.
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Spring Series 2013
HUBBARD STREET FOR THE HOLIDAYS This season, give the gift that keeps on dancing. Wear Hubbard Street. Delight your dance-lover with dancer-designed apparel for men and women, and new items featuring vintage logos for the company and the Lou Conte Dance Studio! Visit our merchandise table at the Harris Theater and ask about special gift packages. Give the gift of movement at the Lou Conte Dance Studio. The dancer in your life will love dancing in our studios, finding balance in yoga, strengthening through Pilates and much more. All classes take place in the same West Loop facility where Hubbard Street Dancers rehearse. Call 312-850-9677 to purchase gift cards and certificates. Share the magic of Hubbard Street. Box office gift certificates are available in any amount and can be redeemed for performance tickets as well as subscription packages. What’s more, buy tickets for yourself and a friend and save $10! See back cover for details. Give back and pay it forward. Honor someone who’s made an impact on your life with a gift in his or her name. Taxdeductible donations made in honor, recognition and remembrance allow us to bring dance into classrooms, provide support and new ways of moving through our Parkinson’s Project, and offer career opportunities to dance artists of all ages. Honorees receive recognition in Hubbard Street program books. Contact jnewman@hubbardstreetdance.com or 312-8509744 ext. 130 to pay tribute today.
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SEASON 36 Glenn Edgerton, Artistic Director
Fall Series October 10–13
Featuring Fluence by Robyn Mineko Williams Chicago Premiere Cloudless by Alejandro Cerrudo World Premiere Passomezzo by Ohad Naharin Casi-Casa by Mats Ek
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Q&A with Robyn Mineko Williams, choreographer of Fluence How do you approach casting a work? Are roles sketched in your mind before you choose dancers? I don’t usually come in with specific characters in mind — I just build from whatever’s happening and the chemistries in the room. I love to use [the dancers’] personalities, their uniquenesses, the odd gestures or mannerisms that they have. That’s what makes it human, and what makes a piece relatable. How did you choose your collaborators for Fluence? I asked Hogan [McLaughlin, costume designer], Robby [Haynes, composer] and Burke [Brown, lighting designer] to be part of this creative team because I trust them and their aesthetics. I feel that we share similar aesthetics and so I don’t worry about us getting too far off-base with each other. And I can trust that they’re open to my ideas, as kooky or as out-of-left-field as they might seem — they’re all very willing to work with me and wait to discover the connections. What do you give your collaborators, in terms of direction? Individuality was a key theme in this new creation, in working with these nine gorgeous dancers, who are all such different beings. I was talking about this individualism, this solitude with Robby and he busted out a Twin Peaks-y kind of music that, in his mind, was like driving down a lost highway, where you see just what the headlights expose to you. It’s so interesting to hear what comes out of someone’s brain when you give them just two words, like individualism and solitude. Name one thing at the root of your choreographic ideas. I like to explore relationships that I’ve personally experienced, sometimes messing with the genders, to see how that might put a whole different spin on things. One thing I’ve always loved about Hubbard Street, even from before I danced there, was how the men can be very masculine and the women feminine, but that they can switch, too, at the drop of a hat. I like dancing “like a woman” but also, I like dancing “like a man.” I don’t even know what those categories mean anymore, really. I might make a solo for a woman but, in the finished piece, it’ll be performed by a man. Or vice versa. Rehearsal for Fluence by Robyn Mineko Williams with the choreographer, left, Rehearsal Director Lucas Crandall and Hubbard Street Dancer Meredith Dincolo (in mirror). Photo by Todd Rosenberg.
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Save the date Fluence Costume Designer Hogan McLaughlin May 30, 2013
Take a peek into the sketchbook of the fashion designer who’s created clothing for Lady Gaga and Daphne Guinness.
“I sat in on a few of Robyn’s initial rehearsals to get a feel for the movement and relationships that began to develop between the dancers in the piece. I started picturing them as automaton-like beings, and wanted to sort of highlight that through sharp angles and a metallic color scheme. I’ve also known most of the dancers in the cast for some time and wanted to highlight each personality. There’s a sense of uniformity, but every person is different from the next.” —Hogan McLaughlin Hogan McLaughlin. Photo by Cheryl Mann.
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Thank you to our Season 36 Sponsors
Official Provider of Physical Therapy
Official Health Club
Lead Community Programs Sponsor
Hubbard Street Dancer Meredith Dincolo. Photo by Todd Rosenberg. hubbardstreetdance.com
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SEASON 36 STARTS NOW And there’s so much more to see.
DREAM big
December 12–15, 2013 Return to what the Chicago Tribune calls dance heaven: the full-length, full-company One Thousand Pieces, inspired by Marc Chagall’s America Windows. Choreography by Alejandro Cerrudo illuminates music by Philip Glass. Back by popular demand.
March 13–16, 2014
DIVE deep
In Hubbard Street’s first allKylián program, see COMPANY PREMIERES of celebrated choreographer Jiří Kylián’s Falling Angels and Sarabande along with audience favorites Petite Mort and 27'52".
June 5–8, 2014
GO beyond
William Forsythe’s transcendent Quintett, Nacho Duato’s sinewy, Mediterranean Gnawa, and Resident Choreographer Alejandro Cerrudo’s World Premiere
YOU CAN STILL SUBSCRIBE Three-series subscriptions are available now! • Never miss a move. See every show. Support Hubbard Street. • Save 25% — and get additional single tickets at subscriber rates. • Get priority seating and exclusive perks.
Visit hubbardstreetdance.com/36 or call 312-850-9744
Glenn Edgerton, Artistic
Director
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Spring Serie s March 13–16 FOUR WORK BY JIŘÍ KYLIÁ S N
Winter Series 15 December 12–
27'52"
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Pieces One Thousandrudo by Alejandro
Reach sophisticated consumers: advertise in Hubbard Street’s magazine-quality program. Hubbard Street Dance Chicago performing arts audiences are affluent, socially active and have lifelong, emotional connections to arts and culture in Chicago.
Season-long packages keep your distinct brand front of mind with our forward-thinking audience. For more information or to request a media kit, contact Sidney Cristol at 312-850-9744 ext. 164, or at scristol@hubbardstreetdance.com.
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Photos: Front cover left: Hubbard Street Dancer Jessica Tong. Front cover right: Hubbard Street Dancers Alice Klock, left, and Jonathan Fredrickson. Inside front cover: Hubbard Street Dancer Kellie Epperheimer. Above: Hubbard Street Dancers Emilie Leriche, left, and Kevin J. Shannon. Photos by Quinn B Wharton.