Displaying items by tag: Auditorium Theatre

Sustaining legacy is no simple task, especially when considering the arts.  How do you preserve continuity of spirit while simultaneously establishing artistic harmony with the past, present and future?  Knowledge, skill and vision at the top are always critical.  But there are other intangibles that ultimately determine long term success.

When Robert Battle unexpectedly announced he could no longer act as artistic director for Alvin Ailey American Dance Theater in 2023 for health reasons, one of the most accomplished and revered dance companies in the United States began a search to fill a pair of epic shoes. Since its inception in 1958, nearly 70 years ago, the company has only had three artistic directors, Mr. Ailey himself, his designated successor and former principal Ailey dancer, Judith Jamison, and Mr. Battle whose initial association with the Ailey company was that of a guest choreographer. He’d go on to distinguish himself as a master in his field.

Late in 2024, Alvin Ailey Dance Theater chose Alicia Graf Mack, at the time director of the dance division at Juilliard, to become its fourth artistic director.  She began her tenure as Ailey’s new artistic director in July last year. 

Mack’s background and credentials are all exemplary and on their own portend a fruitful stewardship.  Born in California and raised in Columbia Maryland, her parents, one Jewish the other African-American, were socially engaged academics who encouraged their children’s creative interests.  Mack trained in ballet and by 17 was accepted into Dance Theater of Harlem where, at nearly 6’ tall and willowy, her height and grace contributed to building her celebrity.  Consequential injuries necessitated that she quit dance, leading her to acquire a History degree at Columbia University. 

After finishing Columbia, Mack returned to the Dance Theater of Harlem where the company’s financial difficulties made her homecoming brief. Applying to the American Ballet Theater and being rejected because of her height, she approached the Ailey company where she was not only accepted into the company, but she was also “embraced” in her totality. 

Artistic Director Alicia Graf Mack. Photo by Andrew Eccles.

Her initial time with Ailey, from 2005 and 2008, allowed Mack to explore and hone other dance styles more deeply and to intellectually mature as a dancer.  After leaving the company to obtain a degree in non-profit management at Washington University in St. Louis, she returned to Ailey in 2011 where she enjoyed notable success as one of its premier dancers until 2014.   Mack then redirected her career and devoted it to education.

At a luncheon held in her honor at Chicago’s Auditorium Theater earlier this year, Mack talked about the people and experiences that led her from being an aspiring teenage dance professional to heading one of the world’s leading dance organizations. As she recounted her past, the emotional intelligence and natural humility she’s noted for were readily apparent.  In her remarks, the new artistic director recognized the wealth of experience, knowledge and talent resident in the Ailey staff and stated she would be relying on those resources to help her fulfill her mission.  She also credited the mentorship she received from dance titans, including Ms. Jamison, pioneering Black ballerina Lorraine Graves and the legendary Carmen de Lavallade.  The advice and counsel they all shared will prove valuable assets for the future.

Just as she balanced the need to adapt to tomorrow while respecting heritage at Juilliard, Mack addressed doing much the same in her new role with Ailey.  Not only is she mindful in honoring the “Ailey aesthetic”, but she also shared her interest in bringing in new choreographic voices to complement, expand and enhance the principles and values Mr. Ailey displayed in his work and that of the choreographers he admired.

Providing avenues for dancers to achieve fulfillment in their craft is also central to Mack’s mission.  One she’s shown to advance through an ethos of affirmation. 

As the climax to the Auditorium’s 2025-2026 Celebrating Women in Dance season later this month, the Alvin Ailey Dance Theater engagement at the theater is a welcome to Ms. Mack.  The three-day run will see two programs performed.  In addition to Alvin Ailey’s classic Revelations and an excerpt from Judith Jamison’s 2005 Reminiscin’, the remaining five dances are contemporary creations of pioneering luminaries in choreography.  All five works saw their world premieres in 2025.

The Auditorium (Chicago’s landmark stage at 50 E. Ida B. Wells Drive) and The Chicago Philharmonic in association with TCG Entertainment, continue the Auditorium Philms Concert Series with Rocky in Concert, an unforgettable live concert experience celebrating the 50^th anniversary of Amazon MGM Studios' iconic Rocky. The one-night-only presentation takes place Saturday, May 16 at 7:30 PM at The Auditorium, 50 E Ida B Wells Dr. Tickets are available at auditoriumtheatre.org or by calling The Auditorium’s Ticket Service Center at 312.341.2300.

Rocky in Concert will allow fans to experience Rocky Balboa like never before by watching the original Rocky film on larger-than-life screens while the musical score is performed live by a symphony orchestra and piano. This is a MUST-SEE event for Rocky fans of all ages, celebrating this classic franchise and encouraging audiences to cheer on the underdog Rocky as Bill Conti’s legendary score “Gonna Fly Now” plays once again.

“Our Auditorium Philms series continues to grow, drawing enthusiastic audiences across many movie genres,” said The Auditorium CEO Rich Regan, “We are looking forward to inviting audiences in to celebrate 50 years Rocky with this exciting performance!”

“Bill Conti's 'Rocky' has become a cultural shorthand for perseverance,” said Chicago Philharmonic Executive Director Terell Johnson. “You feel every setback and every moment he chooses to keep going. The music lifts you right alongside him. We can't wait to perform this iconic score at The Auditorium.”

Amazon MGM Studios’ Rocky and Creed films have generated more than $1.3 billion in worldwide box office sales, three Academy Awards including Best Picture, and 10 nominations. The iconic franchise, starring Sylvester Stallone and produced by Chartoff Winkler Productions, has remained a global phenomenon because it presents audiences with universally relatable themes - ambition, passion, determination, and giving it your all to win, even when the odds are against you.

Rocky in Concert is produced by TCG Entertainment. Visit www.TCGENT.com, Facebook, or Twitter for more information.

CHICAGO THE MUSICAL is BACK IN TOWN and is still the one musical with everything that makes Broadway shimmy-shake: a universal tale of fame, fortune, and all that jazz, with one show stopping song after another and the most astonishing dancing you’ve ever seen.

With a legendary book by Fred Ebb and Bob Fosse, music by John Kander and lyrics by Fred Ebb, CHICAGO is the #1 longest-running American musical in Broadway history -- and it shows no sign of ever slowing down!

There’s never been a better time to experience CHICAGO, Broadway’s razzle-dazzle smash. This triumphant hit musical is the recipient of 6 Tony Awards®, 2 Olivier Awards, a Grammy®, and thousands of standing ovations. You’ve got to come see why the name on everyone’s lips is still…CHICAGO.

The 2025-26 touring cast of CHICAGO features Ellie Roddy in her return to the cellblock as Roxie Hart, Claire Marshall making her debut as Velma Kelly along with Max Cervantes as Billy Flynn, Marc Christopher as Amos Hart, Illeana “illy” Kirven returning as Matron “Mama” Morton and J. Clanton as Mary Sunshine.

The cast also includes Tim Canali, Genevieve Hall, Jared Houde, Jaiden Jones, Amy Knips, Lacey Kohn, Helena Laing, Michael Mottram, Chandler James Pettus, Jake Siffert, Anna Speer, Nick Traficante, and returning cast members Terryn Cuozzo, Josh England, Serena Kozusko, Ryan McInnes and Angelliz M. Rosado Ramos. 

CHICAGO is the winner of six 1997 Tony Awards including Best Musical Revival and the Grammy Award for Best Musical Cast Recording.   
  
This tour will be directed by David Hyslop with choreography by Gregory Butler based on the original direction by Tony Award winner Walter Bobbie and original choreography by Tony Award winner Ann Reinking. CHICAGO features scenic design by Tony Award winner John Lee Beatty, costume design by Tony Award winner William Ivey Long, lighting design by Tony Award winner Ken Billington, sound design by Scott Lehrer, Supervising Music Director Robert Billig and casting by ARC.

The CHICAGO band will be led by Music Director and Conductor Andy Chen, Associate Conductor Chase Anderson and will include Erik Wakar, Jason Whitmore, Heather Kriesel, Matt TenBroek, Jordan Webb, Amanda Bateman, Landon Gaddis, Troy Bashor, Garrett Sullivan and Aaron Kan.

The stage management team is led by Sofia Rose Itskovich and Elspeth Bustard. The company management team is led by Marc Ciemiewicz and Jess Fernando. 

Set amidst the razzle-dazzle decadence of the 1920s, CHICAGO is the story of Roxie Hart, a housewife and nightclub dancer who maliciously murders her on-the-side lover after he threatens to walk out on her. Desperate to avoid conviction, she dupes the public, the media and her rival cellmate, Velma Kelly, by hiring Chicago’s slickest criminal lawyer to transform her malicious crime into a barrage of sensational headlines, the likes of which might just as easily be ripped from today’s tabloids.

It’s no surprise that CHICAGO has wowed audiences from Mexico City to Moscow, from Sao Paulo to South Africa. The show has been seen in 36 different countries and seen by 33 million people worldwide and now it’s coming to your town!

Whether you're looking for your first Broadway musical, whether you've seen the Academy Award®-winning film and want to experience the show live on stage or whether you've seen it before and want to recapture the magic, CHICAGO always delivers!

CHICAGO is a production not to be missed. And all the reviewers agree.

TIME Magazine calls it “A Triumph,” Newsweek raves “Smashing” and Entertainment Weekly sums it up by calling CHICAGO “Broadway’s Most Electrifying Show.”

Come on, babe! Head to CHICAGO! We’re hotter than ever.

Connect with us on social:
https://www.facebook.com/ChicagoOnTour

https://www.tiktok.com/@chicagotour

https://www.instagram.com/ChicagoOnTour/

For more CHICAGO information: www.ChicagoOnTour.com


PERFORMANCE SCHEDULE
Tuesday, May 5 – 7:00 p.m.
Wednesday, May 6 – 1:00 p.m. & 7:00 p.m.
Thursday, May 7 – 7:00 p.m.
Friday, May 8 – 7:00 p.m.
Saturday, May 9 – 2:00 p.m. & 7:30 p.m.
Sunday, May 10 – 1:00 p.m.

TICKET INFORMATION (As of February 19, based on availability and subject to change)
Individual tickets for CHICAGO THE MUSICAL will go on sale Friday, February 20 and range from $40.00 - $115.00 with a select number of premium tickets available. Ticket price listed is when purchased in person at the box office. Additional fees apply for online purchases. Tickets are available now for groups of 10 or more by calling Broadway In Chicago Group Sales at (312) 977-1710 or emailing This email address is being protected from spambots. You need JavaScript enabled to view it.. For more information, visit www.BroadwayInChicago.com.

ABOUT THE AUDITORIUM
The Auditorium, located at 50 E. Ida B. Wells Drive in Chicago, is an Illinois not-for-profit organization committed to presenting the finest in international, cultural, community, and educational programming to all of Chicago and beyond as The Theatre for the People. The organization is also committed to the continued restoration and preservation of this National Historic Landmark that originally opened in 1889. For more information on The Auditorium please visit AuditoriumTheatre.org.

ABOUT BROADWAY IN CHICAGO
Broadway In Chicago was created in July 2000 and over the past 26 years has grown to be one of the largest commercial touring homes in the country. A Nederlander Presentation, Broadway In Chicago lights up the Chicago Theater District entertaining up to 1.7 million people annually in five theatres. Broadway In Chicago presents a full range of entertainment, including musicals and plays, on the stages of five of the finest theatres in Chicago’s Loop including the Cadillac Palace Theatre, CIBC Theatre, James M. Nederlander Theatre, The Auditorium, and just off the Magnificent Mile, the Broadway Playhouse at Water Tower Place.
 

For more information and tickets, visit www.BroadwayInChicago.com.
Follow @BroadwayInChicago on
Facebook ● Instagram ● TikTok ● Bluesky ● YouTube
#broadwayinchicago

At the Auditorium Theatre, a building that itself carries the muscle memory of American performance history, the Martha Graham Dance Company marked its 100th anniversary with an evening that felt less like a retrospective than a living argument for why Graham still matters. This was not modern dance preserved in amber. It was modern dance breathing—angular, emotional, political, and insistently present.

Artistic Director Janet Eilber framed the evening with contextual remarks that were both generous and incisive, situating each work within Graham’s evolving artistic philosophy while emphasizing the company’s commitment to keeping these dances alive rather than embalmed. Founded in 1926, the Martha Graham Dance Company stands as the oldest modern dance company in the world, and its influence is nearly impossible to overstate. Graham shattered ballet’s decorative restraint, replacing it with contraction and release, emotional excavation, and a radical insistence that the body could think, rage, mourn, and remember. Entire generations of choreographers—from Merce Cunningham to Paul Taylor to Alvin Ailey—emerged from her orbit.

The first half of the program traced an emotional arc from love to grief to collective urgency. Diversion of Angels opened the evening with its luminous exploration of love’s many incarnations. Structured lyrically rather than narratively, the ballet presents three couples—youthful, mature, and seasoned—each embodying a different phase of intimacy. Norman Dello Joio’s undulating score supports movement that is buoyant yet grounded, joyful without sentimentality. The work’s Chicago roots add a quiet historical resonance: it premiered here 77 years ago under its current title, having debuted the year before as Wilderness Stair. Seen now, it feels ageless, its athletic lyricism and emotional clarity undimmed.

If Diversion of Angels celebrates connection, Lamentation confronts isolation and loss with ferocious simplicity. Premiered in 1930, the solo remains one of the most iconic works in modern dance. The dancer, seated and encased in a tube of purple jersey, becomes a living sculpture of grief. The fabric stretches, strains, and reshapes under the pressure of the body, creating stark diagonals and suspended tensions. The figure is deliberately abstract—neither gendered nor humanized—grief made manifest. The anecdote Graham often shared, of a woman who found permission to grieve after witnessing the work, still echoes here. Nearly a century later, Lamentation retains its power to dignify sorrow without theatrical excess.

The first half concluded with En Masse, choreographed by Hope Boykin, an Alvin Ailey alum, and receiving its Chicago premiere during this centennial engagement. Built around a rediscovered shard of Leonard Bernstein’s music—sketches believed to have been composed for Graham and later shaped by composer Christopher Rountree—the work bridges generations. Boykin’s choreography channels Graham’s collective intensity while speaking in a contemporary vocabulary. The dancers move as a charged unit, bodies surging and fragmenting, suggesting both solidarity and strain. It is a smart, muscular addition to the repertory, affirming that Graham’s legacy is not static but generative.

The second half belonged entirely to Chronicle, one of Graham’s rare openly political works and a striking reminder of her moral clarity. Created in response to her refusal to participate in the 1936 Olympics in Nazi Germany, the work is performed by an all-women cast and pulses with defiance. Its three movements confront war, nationalism, and resistance not through literal narrative but through embodied protest—sharp footwork, grounded stances, and unyielding group formations. In today’s political climate, Chronicle feels unsettlingly current, its urgency undiminished.

What made this anniversary evening resonate was not nostalgia but conviction. The Martha Graham Dance Company did not ask the audience to admire history; it demanded that we feel it—in our bodies, in our grief, in our collective responsibility. At 100 years old, Graham’s work remains unapologetically modern, and this performance made clear that her revolutionary spirit is still very much in motion.

Celebrating Women Leaders in Dance

25-26 Season

The Auditorium
50 E Ida B Wells Dr, Chicago, IL 60605
312.341.2300

Christmas cheer is here. Or rather... CHRISTMAS CHEER IS HERE!!!

Based on the 2003 blockbuster hit movie Elf with Will Ferrell and Zooey Deschanel, Elf the Musical is a glittering holiday stage confection that mixes slapstick comedy, heartfelt family drama, and a score full of catchy tunes like “Nobody Cares About Santa,” and “Never Fall in Love with an Elf” (one of the musical’s best song and dance numbers). It’s a show designed to leave audiences laughing, humming, and perhaps even believing in Christmas magic again. The stage adaptation of Elf transforms the beloved film into a glittering Broadway spectacle, guided by the comic touch of Bob Martin and Thomas Meehan’s book.

Buddy the Elf is anything but ordinary - mainly because he isn’t an elf at all. Accidentally tucked into Santa’s sack as a baby and raised among the North Pole’s toy-making crew, Buddy grows up brimming with candy-cane energy and a grin as bright as the Rockefeller Center tree (after all, smiling is his favorite). When the truth of his human identity comes to light, he heads to New York City in search of his real father, Walter Hobbs - a cranky children’s book publisher whose name sits squarely on Santa’s naughty list. What follows is a merry storm of comic misadventures, from Buddy’s chaotic debut at Walter’s office to his glitter-drenched takeover of Macy’s, capped by the showstopping ensemble number “Sparklejollytwinklejingley.”

Buddy’s relentless cheer doesn’t always hit its mark - especially with Jovie, the world-weary Macy’s employee who slowly softens to his quirky charm. At home, Walter’s wife Emily and son Michael yearn for connection, their longing beautifully voiced in the ballad “I’ll Believe in You.” As Buddy’s antics spiral from comic chaos to heartfelt desperation, Walter’s patience frays, setting the stage for a holiday crisis that peaks when Santa’s sleigh sputters to a halt in Central Park.

In true Christmas fashion, it’s Buddy’s infectious joy - and the collective power of a crowd singing together - that rekindles belief in magic. By the final curtain, Walter has embraced Buddy as his son, Jovie has discovered love, and the city itself has been swept up in a wave of rediscovered holiday spirit. The message is simple yet enduring: sometimes it only takes one elf to remind us of the wonder we’ve forgotten.

Currently lighting up Auditorium Theatre in a limited engagement through December 14^th, this zany holiday romp delivers a burst of festive cheer guaranteed to lift spirits high enough to send Santa’s sleigh soaring once more.

Jack Ducat slips seamlessly into Buddy the Elf’s candy-cane-striped shoes, radiating a charm that feels tailor-made for the role. His wide-eyed innocence glows like twinkle lights across the stage, a pure embodiment of childlike wonder that never dims. With boundless energy and an infectious grin, Ducat magnifies Buddy’s relentless optimism until it fills the entire theatre, wrapping the audience in holiday warmth. His comedic instincts are razor-sharp, turning even the smallest quip or physical gag into a laugh-out-loud moment, while his musical bursts sparkle with joy. In every scene, Ducat channels the essence of Christmas spirit - reminding us that Buddy isn’t just a character, but a cultural touchstone of holiday cheer, beloved for the way he makes us believe in magic all over again.

The production’s heart is amplified by its supporting cast, each bringing dimension and warmth to Buddy’s journey. Felicia Martis crafts a Jovie with delightful complexity - her initial cynicism and guarded demeanor provide a sharp contrast to Buddy’s boundless optimism, making her eventual embrace of Christmas cheer all the more rewarding. As Walter Hobbs, Buddy’s beleaguered father, Jeff Brooks anchors the story with a commanding presence, capturing both the stern pragmatism of a businessman and the gradual softening of a man rediscovering family and faith. Yara Martin, as stepmother Emily Hobbs, is nothing short of luminous; her nurturing spirit radiates throughout, and she truly dazzles in her duet with son Michael. Camden Kwok, in turn, delivers a wonderfully earnest Michael, whose youthful sincerity makes “There is a Santa Claus” a standout moment along with Martin - an anthem of belief that sparkles with joy and reminds audiences of the magic at the core of the season. (*Ryan Duck alternates performances with Camden Kwok as Michael).

Darius J. Manuel proves to be a dynamic force onstage, stealing scenes with not one but two memorable turns. As the exuberant hotdog vendor, he serves up laughs alongside “The World’s Greatest Hotdog,” infusing the moment with infectious energy. Later, he reappears as the genial store manager whose good intentions lead to comic gold when he assumes Buddy’s elf costume marks him as a holiday department employee. Manuel’s sharp comedic instincts shine in both roles, blending physical humor with a warmth that keeps audiences leaning in. The highlight comes when Buddy nudges him into song, unlocking Manuel’s impressive vocal range.

Katelyn Lauria lights up the stage as Hobb’s office assistant Deb, delivering a performance brimming with comic zest. Her sharp timing and playful wit turn every moment into a laugh, while her buoyant presence injects a spark into the office scenes, ensuring Deb stands out as one of the production’s most memorable delights. Equally compelling is Andrew Kendrick, who demonstrates remarkable versatility in two sharply contrasting roles. As Santa Claus, he radiates warmth and joviality, embodying the very essence of holiday cheer with a twinkle in his eye and a booming laugh that instantly charms the audience. Then, in a striking shift, Kendrick inhabits the stern, impatient Mr. Greenway - Walter Hobbs’ demanding boss - capturing the character’s rigid authority with crisp precision. The contrast between these extremes not only highlights Kendick’s impressive range but also deepens the production’s narrative, balancing the magic of Christmas spirit against the hard edges of corporate life.

Director Philip Wm. McKinley orchestrates this holiday jewel with remarkable finesse, shaping each moment to shimmer with the warmth and sparkle of Christmas spirit. His vision transforms the stage into a living snow globe, where sweeping scenic designs unfold into breathtaking tableaux and glittering special effects ignite a sense of wonder that keeps audiences spellbound. The humor is delivered with impeccable timing, sending waves of laughter through the theatre, while the dance numbers dazzle with precision and exuberance, bursting forth like fireworks of festive joy. At the center of it all is a radiant ensemble whose collective energy and talent elevate the production beyond mere entertainment, crafting instead a jubilant celebration of the season - one that leaves audiences glowing with holiday cheer long after the curtain falls.

Overflowing with laughter and festive cheer, Elf the Musical is the perfect gift to unwrap this season. A joyous addition to any holiday wish list, the production delivers sure-fire fun for audiences of all ages, blending heartwarming spirit with playful humor that keeps the Christmas magic alive from start to finish.

Highly recommended.

Elf the Musical is being preformed at Auditorium Theatre through December 14^th. For tickets and/or more show information, visit https://elfmusicaltour.com/.  

The Ensemble Español Spanish Dance Theater’s 50th Anniversary Celebration was a gorgeous tribute to the history, culture and romance of Spanish dance. From the moment the dancers stepped onstage I was immediately drawn in by the burst of color, the pulse of the music and the intricate, lightning-fast footwork.

The celebration took place at the Auditorium Theatre in downtown Chicago on Saturday, November 15th at 7:30 p.m. The evening was led by Dame Libby Komaiko Legacy Artistic Director Irma Suárez Ruiz, Executive Director Jorge Pérez and Associate Artistic Director José Torres.

The show opened with a slideshow of Spanish artwork glowing across the backdrop, which then transitioned smoothly into the first dance. Women glided across the stage with scarves swirling around them as the men tapped their heels in perfect rhythm. It was the kind of opening that instantly set the tone for the night.

A live band added an incredible layer of richness. Acoustic guitar, percussion and an emotive vocalist brought the music to life in a way recordings never could. The dancers clapped, tapped and interacted with the music, weaving it into the fabric of their movement. José Moreno’s voice was especially memorable. His singing filled the auditorium and transported me straight to what felt like a summer night in Madrid.

As the show moved through a variety of pieces, I found myself constantly amazed by the beauty and passion onstage. There wasn’t much in terms of staging or decoration, and it honestly wasn’t needed. The dancers were the artwork. The crowd clearly agreed, cheering, clapping and shouting “jaleos” of encouragement throughout the night.

The ensemble moved easily between styles, from fiery flamenco to graceful classical and folkloric suites, plus a bold new work that managed to feel both modern and rooted in tradition. The live music elevated every moment.

One piece that really stood out to me began in a dramatic way. A bright light beamed out into the audience while the stage remained hidden behind a black screen. Slowly a silhouette of a solo dancer appeared and began moving to a flamenco piece performed live behind him. When the screen finally rose and the light shifted, he burst into sharp, precise movements, clapping and striking the floor with the heels of his boots. The crowd erupted when he finished.

The costumes throughout the night were another highlight. Layered skirts, red flowers, elegant high-waisted pants and rich colors brought the dances to life. Castanets clicked rhythmically in the dancers’ hands. Everything felt thoughtfully chosen and rooted in tradition.

Another favorite moment for me was a duet performed by what seemed to be two older dancers. Their chemistry and elegance were magnetic. The woman wore a stunning blue-green gown with a long-ruffled train that she incorporated into the choreography. The dance began gently, then grew in intensity as the music picked up tempo. It was romantic, soulful and beautifully paced. The audience couldn’t help but call out “Ole!” and “Bravo!”

The auditorium was filled with a wonderfully diverse audience, from young kids to older adults and people from all kinds of backgrounds. Everyone came dressed for the occasion and I even spotted a few Spanish-inspired outfits in the crowd. Floral hair clips, flowing skirts, colorful scarves and flower pins added to the festive atmosphere and made the whole night feel even more celebratory.

One thing I did miss was having a more detailed program. It would have been helpful to see a breakdown of each dance, the performers in each piece and the titles of the songs that were played. With so many talented dancers and musicians onstage, a clearer program would have made it easier to recognize who was who and to remember the music afterward. It felt like a small but meaningful detail that could have added even more depth to the experience.

The finale closed the night with a burst of energy. It mirrored the show’s opening with images of Spanish art and then shifted into a large group number. The women wore bright red dresses with yellow underskirts reminiscent of the Spanish flag, while the men wore sleek black suits with red trim. What started as a slow, deliberate piece exploded into fast spins, clapping and zapateado footwork. When the show ended, the entire crowd rose to their feet for a long and well-deserved standing ovation.

What sets Ensemble Español apart isn’t just the talent onstage. It’s the mission behind it all. For 50 years they have been educating, building community and preserving Spanish dance traditions through their youth company, education programs and partnership with NEIU. They don’t just perform this art form. They protect it and pass it on. That heart and purpose shine through every performance.

This anniversary celebration felt like both a homecoming and a fresh beginning. Ensemble Español doesn’t just perform Spanish dance. They live it, breathe it and make it feel alive for modern audiences. Even though this was their only show for the anniversary, I absolutely recommend seeing any of their future productions. It’s a must for dance lovers, cultural enthusiasts or anyone who appreciates the power of movement and music.

For anyone thinking about seeing Ensemble Español, they’ve announced their upcoming Flamenco Passion 2026 series. Performances will take place June 12, 13 and 14 at the North Shore Center for the Performing Arts. The celebration continues June 15 through 20 with Spanish dance classes, seminars, workshops, community performances and a symposium at Northeastern Illinois University and the Old Town School of Folk Music. More details for events will be announced on their website https://ensembleespanol.org/events.

An electrifying evening of artistic fusion unfolded at the Auditorium Theatre as Hiplet Ballerinas, the professional company of the Chicago Multi-Cultural Dance Center, dazzled audiences once again with their breathtaking production, Dipped in Versatility. Created by Homer Hans Bryant, Hiplet redefines the boundaries of dance, blending the elegance of classical ballet with the raw energy of hip-hop, the rhythmic pulse of African dance, and the vibrant passion of Latin movement. Bryant, alongside Executive Director Robin Edwards, presented a stunning and deeply moving vision of the company's future. Their latest work offers a glimpse into the artistry and innovation that will continue to define Hiplet Ballerinas, showcasing the brilliance and boundless potential of this extraordinary ensemble.

“We are diversity at its best,” Bryant is quoted as saying in the show's program. “Trained in tradition, and dipped in versatility. Eurocentric is our approach - Afrocentric in our delivery.”

Without a doubt, Bryant’s vision came to life in this remarkable production, delivering a performance that fully embodies his artistic statement.

The production showcased a mesmerizing collection of pieces, highlighted by the highly anticipated world premiere of Garden—a spectacular work exquisitely choreographed by Taylor Edwards and Tre Daniels. With hypnotic projections, dazzling costumes, and an electrifying blend of hip-hop rhythms, the dancers carried the audience through a visionary experience where tradition seamlessly intertwines with innovation from start to finish.

Absolutely magnificent! Hiplet Ballerinas continue to push artistic boundaries, offering a one-of-a-kind, non-traditional dance experience that leaves audiences in awe. The gifted dancers rise to the occasion, effortlessly adapting to any musical backdrop—whether the vibrant sounds of the Spanish Harlem Orchestra, dynamic mixes by Brian Ford, or the electrifying live performances of Marcus Kincy, Lawrence Jones, and Patrick Stanton.

Hiplet Ballerinas at Auditorium Theatre. Photo by Andy Argyrakis.

From the moment the lights fade and the music reverberates, you'll witness dancers of all body shapes and sizes who are absolute forces. Their technique is impeccable, their energy contagious, and their command of the stage undeniable. They flow with ethereal grace before seamlessly transitioning into movements that will astound you. Kendall Brown and Gabrielle Dantzler deliver truly sensational performances, leading standout pieces alongside a remarkable ensemble of talent, including Allison Harsh, Brandon Paraharm, Taylor Edwards, Terri “Berri” Woodall, Dajiah Alexander, Benjamin Marshall, Miranda McGovern, Jaelynn Selph and Captain Nia Towe. The company is also joined by guest performers Sierra Tapia and Alexandria Franklin. Together, they elevate the production to dazzling heights, creating an unforgettable experience from its opening sequence Power to its climactic finale, Outdated Education. 

This isn't your traditional ballet. Hiplet shatters conventions with its bold, innovative, and joyfully inclusive spirit. The diverse artistry of the performers underscores that true talent knows no limits. The imagination and ingenuity of the choreography team that brings Homer Bryant’s vision alive is on full display and it is fantastic. 

The music will pulse through you, the vibrant energy will keep you riveted, and the sheer artistry will leave you breathless. Hiplet is an immersive experience – a dynamic, exhilarating, and unforgettable journey that will leave you feeling inspired and uplifted. If you have the opportunity to see Hiplet, seize it! It's truly a groundbreaking performance. 

For more information on this outstanding dance company, be sure to visit their site at https://www.hipletballerinas.com/. You can also give them a follow on Instagram @hipletballerinas. 

*This review is also featured on https://www.theatreinchicago.com/! 

Two dancers stand center stage. The traditional, spiritual music begins to play as they start to move. Very much in unison, and slowly in time with the rhythm. We are in the first segment of Revelations - “Pilgrim of Sorrow.” The first two segments were larger group numbers, but this one feels different.

“Fix Me, Jesus” features a duet, and as the song continues, Ailey’s choreography only heightens. Just when you might think the pure strength on stage cannot become more mesmerizing, the dancers wow you with yet another move. The male dancer dips the female to the stage with little more support than his hand on her head. Then he lifts her into the air with his feet, and she continues to amaze with kick after kick – holding her extension at full height for multiple seconds at a time.  Each acrobatic feat elicited cheers from this opening night audience and even brought some to their feet upon the number’s completion.

Alvin Ailey’s company is full of so many incredible dancers. Every number showcased impressive talent that left the eager audience wanting more. However, you just might find that what pushes these numbers over the top is the clear connection that the performers not only share with each other, but also the material. Whether it’s a large group number or a duet like “Fix Me, Jesus,” there is an emotional resonance to each of the pieces that pushes the storytelling over the top.

Helmed by Interim Artistic Director Matthew Rushing, Alvin Ailey American Dance Theater’s tour to the Auditorium Theater showcases a range of material. Long-time fans of the company (like myself) are sure to recognize some of the famous pieces – such as Revelations. This particular performance also sprinkled in some of the newer pieces from the company – including Grace and Finding Free. Each piece was stunning, and from the uproars of applause from the surrounding audience, it was clear I was not alone in my assessment.

Alvin Ailey American Dance Theater in Hope Boykin's Finding Free.

Cry was certainly a favorite at this performance, and it’s not hard to see why. Alvin Ailey choreographed this piece as a birthday present to his mother back in 1971, and as noted in the program, it continues to serve as a celebration of “black women everywhere – especially our mothers.” With costumes by A. Christina Giannini, the women on stage wear long, flowing white skirts that twirl and sway with every movement. Particularly when combined with the blue of Chenault Spence’s lighting design, the women almost feel angelic. So much of this performance was met with cheers and standing ovations, but this particular number left audience members silent – clearly leaning into the heartfelt, emotional depth of the piece.

As much as the slower, heavier pieces stood out, you might find that it is hard to top the pure joy that exudes from the final installment of Revelations - “Rocka My Soul in the Bosom of Abraham.” This number is a full-ensemble moment – with each member dressed up to the nines for a church service. With the men in suits and the women carrying fans, they dance in unison and are clearly having a blast as the music moves through them. Audience members, swept along in the passion, even began to clap along to the music – which only invited the smiles on the dancers to grow.

Full of talent and delight, Alvin Ailey American Dance Theater’s performance simply does not disappoint. Whether you are a long-time fan or completely new to the company, there’s a little something for everyone.

Alvin Ailey American Dance Theater’s run at the Auditorium Theater (50 East Ida B. Wells Drive) ended on Sunday, March 9. See the Auditorium Theatre website for  information on other performances in their season. 

*You can also find this review featured on https://www.theatreinchicago.com/.

We all have Christmas rituals; practices we incorporate into our personal experiences of the holidays.  For me, it used to be reading all three books of The Lord of the Rings. This has naturally morphed into watching all three extended-version DVD’s – a significant investment of time, but far less than reading the entire trilogy was! Yet another reason to be thankful for and to Peter Jackson.

If your holiday ritual entails music, chances are it includes Handel’s Messiah, a glorious Baroque musical tribute to the celebration of Jesus’ birth. But – no disrespect intended but I’m tellin’ you now: if you haven’t heard the Jazz-Gospel Messiah, you ain’t heard Handel’s Messiah!

Almost 300 years ago Georg Frideric Handel composed his legendary Messiah and the accompanying Hallelujah Chorus, and it’s been thrilling audiences ever since. About 30 years ago Maestra Marin Alsop, chief conductor of the Vienna Radio Symphony, undertook to re-invent this masterpiece and, with co-arrangers and -orchestrators Bob Christianson and Gary Anderson, created a new sensation, TOO HOT TO HANDEL.  They recognized that classical European liturgical music is not, as some may believe, antithetical to more modern forms like jazz and gospel, or even rap and scat. Alsop is by no means the first to modify Handel’s work: during Handel’s lifetime, many performers (including Mozart) sought to embellish, ornament, and improvise … and improvisation is, by its very nature, jazz-like.

Even the original, unadorned Messiah is beautiful, but when some years ago Alsop informed a friend she was doing Messiah their response was, ‘yeah, I like the ending with the hallelujahs, but the rest is boring’. Seeing that this was accurate but not right, Alsop began work on what would be TOO HOT TO HANDEL, and ever since it premiered in 1993 audiences have been standing and clapping and shouting and dancing in the aisles!  Certainly, they were doing all that and more last weekend at the Auditorium Theatre!

The orchestra included guest artists from the Chicago Symphony Orchestra with George Stelluto as Music Director and Conductor. Fred Nelson III, Director of the Chicago Collective Rhythm Section, manned the organ while Alvin Waddles made magic on the piano. Drummer Quin Anderson, Joseph Woolfalk on electric guitar, and Sharay Reed playing bass (both string and electric) transported the classical orchestra into jazz-hood (jazz-ness? jazz-dom? whatever). The choir (more than 80!) was directed by Bill Fraher, and they were fabulous, swaying and rocking, clapping and nodding and ultimately dancing along as joy filled the Auditorium.

The three solo vocalists were spectacular: alto Karen Marie Richardson, soprano Alfreda Burke and tenor Rod Dixon. Dixon in particular was absolutely breathtaking! He did so much more than sing – he spun and leapt, flung his arms out in ecstasy and up in supplication; his face mirrored the emotion of each piece. His free-spirited performance gave the audience license to be just as impetuous and unconstrained.

I’m going to back up here, as the venue deserves note.  The Auditorium Theatre was built in 1898 and certainly looks it! The marble-tiled floors dip and slant; marking the stairs with tape makes them easier to see but no less erratic and uneven … but I’m focusing on this because I personally have some ambulatory challenges; if your walk is steady, you’ll see these details as a feature rather than a defect, because the beautiful features of the Aud are abundant. It was, as I said, built in 1898, before budgets overruled beauty. The result is an enormous edifice of surpassing elegance and grandeur that simply couldn’t happen in 2025. If you’ve never seen it, find a way to do so. It’s a splendid Chicago landmark.

TOO HOT TO HANDEL is not an overlong production, but it’s so lavish that it felt like we’d been there for hours before Intermission: through Behold, a Virgin Shall Conceive; For Unto Us a Child is Born, culminating in the Angels singing Glory to God – Part I was so lush that we were a bit confused. People were taking up their coats and making their way up the aisles – was this Intermission or was it the End? But wait! we hadn’t heard the Hallelujah chorus! so this simply could not be the end. And sure enough, the performers returned after their well-deserved break. Part II opened with Rejoice Greatly, O Daughter of Zion; Behold the Lamb of God; The Trumpet Shall Sound; culminating finally with King of Kings, Lord of Lords … and He shall reign forever and ever … HALLELUJAH! The orchestra was rockin’, the chorus was dancing on the risers, the soloists were giving their all, the audience was on its feet applauding, and we were all suffused with wonder and joy. HALLELUJAH!  

Rivalling the Hallelujah Chorus was a truly magnificent piano solo, where Alvin Waddles elicited cheers and laughter with an extensive medley, wandering from Gershwin to Celine Dion, from pop to rock to rap … a truly stunning performance.

I need to give a shoutout here to Light Designer Matt Miller and Video Director John Petrosky, for the videography was stellar. Even from orchestra seats there were so many performers onstage it was impossible to see individuals. Petrosky was on it, though: a huge screen was mounted behind the choir, providing us closeups of soloists, conductors, and various artists. I just thought of it now because of how superbly the videos followed Waddles’ hands on the keys!

Jazz and gospel are predominantly associated with African American artists, and that was certainly reflected in TOO HOT TO HANDEL. Most (all?) of the soloists, voice and instrumental, were African American, and it’s no coincidence that TOO HOT TO HANDEL appears on the Chicago stage on or around Martin Luther King Day. TOO HOT TO HANDEL is, like Kwanzaa, a singularly African-American holiday celebration.

The original Messiah is unquestionably a beautiful work of art, but it is also ponderous and staid – like most European Christian music and ceremony it’s measured, methodic, orthodox … in a word, white. Alsop’s genius was to maintain all the splendor of Handel’s Messiah while uniting it with the joyous spirit of modern gospel music and the unconstrained freedom of jazz. She forged a merger between the restraint of traditional European (white) liturgical music and the exuberance of the gospel (Black) style of worship, utilizing the whimsy and spontaneity of jazz. As my companion said, “imagine how you’d feel upon learning that ‘unto us a Child is given.’ That sort of news inspires exultation and jubilation!” TOO HOT TO HANDEL renders that joy without losing the elegance of Handel’s original. Hallelujah!

There were only two performances, Friday January 10 and Saturday January 11. However, TOO HOT TO HANDEL has reappeared on the Chicago stage every year since 2006, on or around Martin Luther King Day, so mark your calendars for mid-January 2026! The production will be back, and it is VERY HIGHLY RECOMMENDED.

[Reviewer’s Note: I’ve been reading a book whose main character is inveigled by Word of the Day; hence, I’ve striven to include as many unconventional and indecipherable words as possible. You’re welcome.]

This is the seventh year of the JINKX AND DELA HOLIDAY SHOW, composed each year by BenDeLaCreme and Jinkx Monsoon as a new, original production. DeLa is also the Director, Producer, Costume Designer (and most likely a whole bunch of other stuff) and she does it all in 4-inch heels!  Move over, Ginger Rogers.

Rivalling DeLa for multifaceted, multidisciplinary, multipurpose, and otherwise multiscious effectuality is Gus Lanza, who is backstage manager and merchandise mover-and-shaker, as well as moving and shaking onstage as Hunky the Elf. Last night poor Hunky had a bad cold and sneezed on everyone, but that never vilipended or misprized his sprightly performance. Working with him was a whole stockingful of elves: Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, and Scott Spraags. The costumes were fabulous; no surprise, as they were designed by BenDeLaCreme, Mr. Gorgeous, and Nova Dobrev; assisting in their creation were Paris Original, Jamie Von Stratton and The Lady Hyde.

The first act was enlivened by a rousing rodeo around Beyonce’s “Texas Hold’em”, and the wonderful song “Secular” – a parody of Wicked’s “Popular” – expressing disgruntlement at all the religiosity circumfusing what should be just a party!

Each year the overall theme of the JINKX AND DELA HOLIDAY SHOW is that Jinkx and DeLa are coming together to put on a holiday show (logical, n’est ce pas?). And every year, that simple premise is blunged with some beloved holiday classic. This year the classic was Nutcracker, and the story developed from Jinkx finding a nutcracker in her Holiday Box to dancing and singing (and ….!) with the Nutcracker himself, whose outsize head (created by Erik Andor) had wonderful googly eyes. His other parts were wood which, as Jinkx found out, never goes soft! though splinters are a hazard.

Jinkx and DeLa shrink (a little bit of Alice in Wonderland thrown in there) and become tree ornaments until they fall off the tree and their clothes fall away, leaving them naked (no problem, they both have terrific tits!). This evolves into Jinkx being kidnapped by the Nutcracker, and for the remainder of the show they go through all sorts of contortions, trying to reunite.

Hunky the Elf always provided a marvelous interpolation, and Country Dancing Santa was a super supplement (even though his batteries kept wearing down), all of them eager to sing and dance with Jinkx and DeLa. I was particularly fond of Clayby (Clay Baby) Jesus.

The final song in the JINKX AND DELA HOLIDAY SHOW is traditionally an anti-holiday anthem, and this year was no exception: Everybody’s Traumatized by Christmas struck home with virtually every gay, lesbian, bisexual, trans, and otherwise queer in the audience (and quite possibly in the cast as well!).

The bad news is that the JINKX AND DELA HOLIDAY SHOW comes but once a year to Chicago (and more than 30 other cities!). But forewarned is forearmed. Now you know to watch for its reappearance on the Auditorium Theatre’s playlist next December … assuming, of course, the incoming administration doesn’t put an embargo on Drag Queen Festivities. They’d probably be wise to do so, as the show would be quite effective in waylaying innocent little boys with the joys of rhinestones even before their school operates on them.

Created & Written by BenDeLaCreme & Jinkx Monsoon

Director BenDeLaCreme

Choreographer Chloe Albin

Movement Direction BenDeLaCreme

Original Compositions Major Scales

Lyrics BenDeLaCreme, Jinkx Monsoon, & Major Scales

Music Production Markaholic & Keith Harrison

Starring BenDeLaCreme & Jinkx Monsoon

with Chloe Albin, Mr. Babygirl, Jace Gonzalez, Ruby Mimosa, Derrick Paris, Scott Spraags, and Gus Lanza as “Hunky the Elf”