Displaying items by tag: Dance

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.

Many decades ago, my mother enrolled me in ballet classes, hoping the classical training would somehow turn her rotund preteen into a graceful swan. On my way to those tortuous lessons on Davis Street in Evanston, I passed another door marked “Gus Giordano Studio.” The typeface was cooler than the ballet studio’s script and so were the jazzy strains of music that drifted downward. If only I’d climbed Giordano’s narrow stairway instead, I might have lasted longer on the dance floor.

Fortunately, plenty of other students chose Gus Giordano’s door. His infusion of jazz into contemporary dance has endured and manifested under the leadership of his daughter Nan and other creative contributors. Now in its 63^rd season, Giordano Dance Chicago presented its Ignite the Soul program at North Shore Center for the Performing Arts last weekend with the vibe that emanated from its original studio.

Sing, Sing, Sing, set to Louis Prima’s penetrating drumbeat, gave us three dancers and six white-gloved jazz hands having the time of their lives. After that joyful salvo came the lengthier and more reflective Gershwin in B.  Choreographed by Al Blackstone to a mélange of Gershwin classics, the 2024-piece features Erina Ueda who pulls us into the abstracted narrative by reaching for a red fedora that slides away before she can grasp it. Joined by the expressive and sleek ensemble in Branimira Ivanova’s glorious black and white costumes, the dancer strives for that fedora of success. Along the way, she finds love, partnering with Eduardo Zambrana and then moving on as she reaches for the next fedora.  

From Gershwin’s signature American jazz idiom, the program shifted to an Afro-Cuban sensibility. Liz Imperio’s La Belleza de Cuba set the entire Giordano company in motion, coupling and uncoupling with such intensity, the dancers seemed electrified by the mere presence of their partners. Almost like a palate cleaner, Interlinked by company member Simon Schuh did indeed interlink bodies with rapid-fire precision that suggested gymnasts as much as dancers.

Erina Ueda returned for different challenge in 333. Choreographed by Nan Giordano and Cesar G. Salinas to the music of Otis Redding, the solo piece further showcased Ueda’s emotional and technical range.

The final work of the evening, Red & Black, was created by Dancing with the Stars choreographer Ray Leeper for the company in 2024. With music selections from Eartha Kitt, Michael Bublé and others, the work has men stalking women and women stalking men, everyone seductive in their red and black attire. Lifting bar chairs, grouping and regrouping, forming alluring tableaux, they project an almost predatory energy. At one point, the women remove their jewelry and a single shoe, leveling themselves with great control as they continue their interactions with the men.

With its nightlife setting and the dancers’ charged, sophisticated moves, Red & Black brings another nighttime revelry, The Wild Party, to mind. Leeper’s extended party, however, doesn’t disintegrate into darkness; it simply keeps unfolding. Where exactly Red & Black arrives at the end is unclear and perhaps doesn’t need to be. The journey for this recent offering – so many years and countless stairs climbed by gifted dancers since I felt the Giordano magic on Davis Street – is destination enough.

For more information on Giordano Dance Chicago, go to https://www.giordanodance.org/

If you are one that finds ballet boring, you haven’t been to Joffrey Ballet. Kicking off their 70th season with Carmen, Joffrey once again proves it’s the ballet company for adults. Hot off the heels of his 2023 production of ‘Frankenstein’, Liam Scarlett returns to Chicago with his US premiere of Carmen.

Set to the iconic Georges Bizet opera score, Carmen is the classic tale of love and betrayal. Carmen works in the harsh conditions of a Spanish cigar factory. Her and the other factory women trade flirtations for preferential treatment from the guards, but it’s the sexy Carmen men all want. Soon she’s entangled in a love triangle between the guard Don Jose (Alberto Velazquez) and bullfighting champion Escamillo.

You can’t have a love triangle in a ballet without a little sex, or in this case, a lot of it. Joffrey has never been shy about putting eroticism into their work, even their Nutcracker has a little something for all ages. Scarlett’s choreography is red hot and his Carmen is even hotter. Victoria Jaiani dances the lead with such lithe dexterity. However, it’s Dylan Gutierrez dancing the role of Escamillo who becomes the focal point in the second act. The bullfight scene nearly commands a standing ovation, something typically reserved for the curtain call.

Carmen is the main character, but that doesn’t necessarily mean she’s the hero. Instead, another unrequited love story unfolds between Don Jose and a young woman from his past Micaëla. Micaëla is danced by Gayeon Jung who not only scorches the floor with her dancing but breaks hearts with her ability to convey emotion through facial expression.

Alberto Velazquez and Gayeon Jung in Carmen at Lyric Opera House.

Carmen begins a little slow, but by the second act, the audience is as seduced by her as Don Jose is. An even more seductive element are the settings created by Kristin McGarrity, Laura Morera and Lauren Strongin. The action plays out against a deepening red sky and concludes with the subtle symbolism of a dying bull. Costumes by Jon Bauser only add to the visual splendor of Carmen.

As Bizet’s beautiful score floats out from the orchestra pit, emotions run high. Carmen is a ballet that keeps its audience firmly in its grip. Opera and ballet are known for their melodrama, but few feel as suspenseful as Carmen. Scarlett’s vision for this new production is perfectly matched by the spectacle created by the innovative team at Joffrey Ballet. 

Through September 18 at Joffrey Ballet at Lyric Opera House. 20 N Wacker Dr. 312-827-5600

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/! 

Dance performances can often be moving events but rarely do they hold the density, breadth and depth of emotions Giordano Dance Chicago’s (GDC) Spring engagement encompassed Friday night at the Harris Theater.  Part tribute, part commemoration of a milestone, and a total celebration of life, Soaring: Life, Light and Legacy spanned the gamut of all the things that can be interpreted more eloquently through the beauty of the arts.

Nan Giordano, celebrating her 40^th year at the helm of the dance company her father, Gus, created 62 years ago, lost her son and only child Keenan Giordano Casey suddenly and unexpectedly last year.  Each of the six dances performed in the Spring lineup touched on, either directly or tangentially, an aspect relating to these two events.  The skill in which GDC accomplished this feat makes the title given to the program a quiet touch of genius.

Opening with the first public performance of Sana, a work created from the verdant and sometimes ground shifting imagination of Al Blackstone, the dance centers on the notion of healing by striking notes reverberating with lightness and possibility.  Strains of calypso could be detected in percussionist’s Stahv Danker’s animated original score.  That same airiness and sense of optimism could also be found in the expectancy shining through the dancers’ movements and in the understated vibrancy of Devert Monet Hickman’s costume designs. They all coalesced to telegraph a message of hope.  It’s not unusual for a work’s newness to expose areas that could benefit from a bit more honing.  And it’s clear that once that sharpening occurs with Sana, its palliative message will ring with even greater resonance.

Some brand-new works though arrive in the world perfectly and 333 certainly counts as one of them.  A solo piece designed specifically for GDC principal dancer Erina Ueda by Ms. Giordano and GDC Associate Artistic Director, Cesar G. Salinas, it is quite simply a mesmerizing tour de force.  Dance can often be summed up as a combination of three parts.  Music, choreographic design, and execution. Here they are in a ravishingly flawless balance.

The rawness of life is something we often prefer to deny, despite its centrality to our very being and existence. Representing angel numbers that connect Ms. Giordano, her son Keenan and her father together, 333 embraces it, glorifies it and opens itself to its power.  Danced to the timeless and near magical appeal of Otis Redding’s signature rendition of Try a Little Tenderness, 333 simmers, explodes and stews in the vicissitudes of life.  I can’t imagine anyone being a better vessel for translating the impact of its mysteries than Ueda, whose expressive range seems boundless and appears to expand with the arrival of each new season.

It also proved the ideal prelude to Soaring, the dance tribute created for her son by Giordano, Salinas and the GDC dancers themselves.

A film introducing the audience to who and the type of person Keenan Casey was, and exposing the respect and love mother and son shared, preceded the dance itself, creating an atmosphere of compassionate awe.  Dancers in Nina G.’s costumes of wispy white then swept from both wings of the stage; ethereal and yet still grounded in the gravity of earthly cares.  Solemnity and exaltation danced in harmony as the entire company was later joined by 25 Keebirds, friends of Giordano’s son, Keenan.  Keebird was the sobriquet they used when referring to their fallen comrade.  Also dressed in white, feet bare and carrying lighted symbols of renewal they walked through the aisles and up to the stage in stoic silence while Antonio Pinto’s music filled the hall.  Striking, poignant and deeply touching, it symbolizes how wrenching great loss can be and how it can be willed into the spiritually restorative.

After a brief pause to absorb Soaring’s impact, lightning struck in the form of, what looked like to these eyes, a totally revamped version of Red and Black.  Created last year by Ray Leeper, the sultry jazz-soaked wonder, already sizzling with energy in its original format, seemed even more kinetic, electrified and polished to a blinding gleam. Opening to an extended version of an obscure Eartha Kitt jewel, female dancers in clinging gowns with long slits let it be known it’s a woman’s world.  One misstep and you’re likely to get scorched, bringing a whole new dimension to the term “deliciously provocative”.  In a program that covered a range of dance styles, this was vintage Giordano in peak form.  Confident, irrepressible, dazzling, athletic, brash. Bonji Duma’s musical expertise helped pump up the adrenalin to power it all.  Along with Ms. Kitt’s vocal brilliance, the music of Moloko, Scott Bradlee’s Postmodern Jukebox, Michael Bublé and Club De Belugas kept this rocket zooming.

Respite came with the visually enchanting Taal, an East Indian concept piece choreographed by Ms. Giordano in 2001.  The name derives from the traditional rhythmic pattern found in classical Indian music, brought to life here with works from Anuradha, Suno A.R. Rahman and S. Jhaia.   Asifa Imran’s graceful and culturally reflective costumes did their part to transport us to another place and time.  An important part of classical Indian dance, hand gestures are used to express a wide range of emotions and were incorporated extensively within Taal.  The effect was to fuse the identities of two dance cultures to create a unique artistic hybrid and something refreshingly new.

Following another short film shedding invaluable insight into what it takes to make a successful dance company thrive and the passion, talent and grit required to be a dancer within it; the program closed with Pyrokinesis. Living up to everything its name implies, this little stick of dynamite in the company’s repertoire, developed by Christopher Huggins in 2007, was a delight to see again. Dressed once again in red and black, this time sleekly styled by Branimira Ivanova, dancers showed what it means to be members of the most elite jazz dance company in the country, if not the world.  The dynamism found in Ray Leeper’s earlier piece simply takes a different form here, but the infectiousness of its joy, verve and vitality were just as powerful, energizing and uplifting.  A fitting close to a night commemorating life, light and transformational legacy.

Soaring: Life, Light and Legacy

Giordano Dance Chicago

April 4-5, 2025

Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL   60601

*This review can also be found at Theater in Chicago.

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/.

Steppenwolf's cozy downstairs theater provided the ideal setting for an evening of outstanding and expressive dance by the highly acclaimed Season 47 Fall Series by Hubbard Street Dance Company.

The performance began with Aszure Barton's “return to patience,” featuring the entire company uniformly dressed in simple, gray and pale blue loose-fitting attire, defying gravity by leaning into space rather than onto each other. The piece masterfully captures a sense of restless animation striving for contemplative serenity, achieving this balance beautifully. (Set to Caroline Shaw’s “Gustave Le Gray,” an adaptation of Chopin’s gentle “Mazurka in A Minor, Op. 17, No. 4”).

The second piece, a solo performance titled “Show Pony” (2018, HSDC premiere 2023), danced by Shota Miyoshi, stands in stark contrast to “return to patience.” Clad in a formfitting, shiny gold Vegas Elvis jumpsuit, Miyoshi's performance is spectacular. He is literally spotlighted with beautiful lighting by Dan Scully that appears and disappears, as he dominates the stage. The term “Show Pony” perfectly encapsulates Miyoshi's confident and explosive dancing.

Lar Lubovitch’s “Prelude to a Kiss” (2005, HSDC 2023) is a romantic delight, danced superbly by Alexandria Best and Elliot Hammans with palpable chemistry. The couple's dance and flirtation are mesmerizing, with Best sometimes hanging from Hammans' arms like an exquisite butterfly. Their duet is mesmerizing and romantic, culminating in a breathtaking moment as Hammans gently removes the shoulder straps from Best's gown, one at a time, and plants a single, masterful kiss on the exposed nape of her neck.

In “Sweet Gwen Suite”, Cyrie Topete, Dominick Brown, and Aaron Choate dazzle in wildly sexy, bedazzled leather and Mexican-style form-fitting pants and bolero jackets, with costumes designed by Bobby Pearce. This number by Bob Fosse and Gwen Verdon exudes sass, flair, and self-confidence. Brown and Choate support lead dancer Cyrie Topete, who shines in what feels like a near-solo performance. Topete makes every gesture count, from smoking and extinguishing her cigarette with a sexy twist of her leather boot toe, to the defiant lift of her chin and single smile at the end, like a victorious matador. The act was set to Herb Alpert & Tijuana Brass’ “Mexican Shuffle,” Lola Schiffrin’s “Cool Hand Luke,’ and “Mexican Breakfast” by Johnny Mandel.

Hubbard Street Dance Chicago in 'BUSK' by Aszure Barton.

Hubbard Street Dance Chicago’s opening night of the company’s Season 47 Fall Series was graced by the presence of Nicole, the daughter of Bob Fosse and Gwen Verdon. HSDC proudly became the first company to collaborate with the Verdon/Fosse Legacy to showcase Fosse's work. As a longtime admirer of Verdon/Fosse-inspired dance, this collaboration brought their iconic style to life in a thrilling and deeply satisfying way.

In the show’s final act, “Busk” by Aszure Barton opens with Elliot Hammans sleeping on the street, transforming into a character reminiscent of Buster Keaton, complete with hat and cane. Hammans' wonderfully expressive face enhances his dance performance, as he is joined by a cast of street people. Their movements range from defiant leaps to huddled masses, pleading for help with outstretched arms, their faces conveying profound sadness, struggle, and desperation. Random vocalizations are also used by the dancers, which really add to the already stunning piece. The entire dance company is involved in what is the perfect finale.

I highly recommend this incredible and passionate selection of dance performances, including the collaboration with the Gwen Verdon Bob Fosse Legacy, for audiences of all ages. The Hubbard Street Dance Chicago dancers are uniquely gifted and each piece so mesmerizing, making it difficult to pick a favorite number. The company’s Season 47 Fall Series, beautifully staged at Steppenwolf’s Downstairs Theatre, was truly a night of dance you and your family and friends will never forget.

For more information on Hubbard Street Dance Chicago’s current and upcoming performances, visit https://www.hubbardstreetdance.com/.  

(*Dancers alternate roles in performaces depending on select dates. This review reflects the dancers performing for the specific performance reviewed.) 

What source materials make a great ballet? Can everything be interpreted through dance? It’s a fair question when considering Joffrey Ballet’s new adaptation of Ian McEwan’s complex novel. This sumptuous co-production with Ballett Zurich is proof that the sky’s the limit when it comes to what’s possible on stage.

Those who have read the novel or are familiar with the 2007 Joe Wright film will certainly find the plot a bit easier to follow. However, through Cathy Marston’s fascinating choreography, the ill-fated romance leaps off the stage. ‘Atonement’ begins at the Tallis family estate in the English countryside during one sultry summer evening in 1935. Young Briony Tallis (Yumi Kanazawa) witnesses a sexual congress between her older sister Cecilia (Amanda Asssucena) and Robbie (Alberto Velazquez), the son of one of the servants. Later in the evening, her cousin is attacked in the dark by an unknown prowler. Assuming the incidents are related, she implicates Robbie and forever changes the course of his and Cecilia’s lives.

Ian McEwan’s novel endures as one of the most inventive books of the early 00s in part because of its unique story structure. Joe Wright honored that in his film version by showing the same scenes from various points of view. ‘Atonement’ the ballet takes a unique approach to narrative structure with the traditional act order somewhat altered.

‘Atonement’ is forthrightly erotic. Given the deeply romantic plot between Cecilia and Robbie, it’s imperative for the audience to believe their chemistry. And that chemistry is hard to deny. Amanda Asssucena and Alberto Velazquez move with fluidity that may put a little sweat under your collar. Afterall, not every ballet is ‘The Nutcracker’.

Laura Rossi’s score pulls every emotion to the surface. A buoyant, romantic first act is balanced out by the urgent sounds that simulate the horrors of WWII-era London in the latter half of the ballet. Along with artful staging by Adam Blyde and Anastacia Holden, ‘Atonement’ is a feast. From the costumes to the minimalist setting, this production oozes sensuality.

The Joffrey Ballet has a certain knack for literary adaptation. ‘Atonement’ is another installment in their archive of hits. Classic settings provide a perfect backdrop for provocative modern steps that take your breath away. ‘Atonement’ achieves romantic complexity without words, proving how universal feelings of heartbreak and longing are. 

Through October 27 at Joffrey Ballet, Civic Opera House, 20 N Wacker Dr. 312-386-8905 

100 days of summer. The unofficial Chicago holiday season between Memorial Day and Labor Day is a local challenge to get out and experience all the city has to offer from 1:20 games at Wrigley to concerts on Northerly Island, festivals, fairs, and everything in between. I can think of no better way to savor these fleeting days than spending an evening with Savor After Hours.

Savor After Hours is a decadent and artistic showcase of dance pairing beautifully choreographed numbers akin to a delicious glass of wine.Created, written, and directed by Mark Swanhart, Savor After Hours features a cast of exceptionally talented dancers, led by former dancing with the stars dancers, Valentin Chmerkovskiy, his wife, Jenna Johnson-Chmerkovski, and his brother, Maksim Chmerkovski. Artem Chigvintsev, Daniella Karagach, Pasha Pashkov, Allie Meizner, Jack Moore, Jalen Forward, Kayli Johnston, Kenidee Allen and Olivia Cava round out the intimate ensemble dance crew, and invite you to sit and savor the art of dance in the intimate Broadway playhouse. Like a good glass of wine they help you forget about the noise and bustling of Michigan Avenue only steps away.

The show is like a well-choreographed wine tasting, there is something for everyone. Those seeking bold flavors, there are spicy Latin tango sequences filled with passion and romance. For those with a sweet tooth, there are delicate contemporary dances with achingly long lines that pull taut on your heartstrings. From intimate tangos, quick hitting jives, sensual merengues, and cute and playful two steps, your eyes will feast and your blood will be pumping as you move from pairing to pairing, savoring each delectable dance and coupling. With beautifully choreographed routines coupled with exceptional lighting and incredible music, Savor After Hours goes down as smooth as summer wine.

100 days of summer are fast moving, so take a break from the heat to savor this delicetable show. Savor After Hours runs through Aug. 18 at the Broadway Playhouse, 175 E. Chestnut St. Tickets are available at www.broadwayinchicago.com.

With CAN YOU HEAR US NOW? Chicago Tap Theatre presents an original show directed by Molly Smith. CAN YOU HEAR US NOW? featured a series of original choreography from CTT dancers inspired by, referencing, and in honor of historical figures in tap dance and jazz music history from the LGBTQIA+ community. Part archival research project, part live show, this show combined tap history with the state of tap dance today, with a focus on LGBTQIA+ perspectives. The production was a celebration of queer culture and history through the eyes (and shoes) of the dancers themselves.

CAN YOU HEAR US NOW? THE QUEER TAP DANCE REVOLUTION, performed at the Edge Theatre, is Molly Smith's directorial debut, and a fine job she made of it! Each production was choreographed by a Chicago Tap Theatre (CTT) member or apprentice, including Molly herself. Her solo performance, to Lesley Gore’s You Don’t Own Me, was stunning and clearly heartfelt. She further discussed the connection she sees between tap dance and queerness.

Mark Yonally (he/him) is the founder and Artistic Director of Chicago Tap Theatre, one of the most critically well-regarded dance companies in Chicago. They perform an annual three-show season in Chicago and tour throughout both America and Europe. Their performances have been chosen as the Top Ten Dance events of the year by the Chicago Tribune, the Chicago Sun-Times, SeeChicagoDance and Windy City Media. CTT’s stated mission is to share the creativity, the history, and the pure joy of tap dance; these were clearly illustrated in CAN YOU HEAR US NOW?

The set was purposefully and effectively nearly neutral; not so the lighting! which was refashioned to enhance each piece.

The intervals between pieces were very short, which was useful for the most part. However, their duration might have been adjusted to coordinate with the mood of the dances, particularly near the end, with more emotionally charged pieces: Molly Smith’s solo, and the dance commemorating our martyrs to the AIDS epidemic. Here the rapid interruptions felt hurried and forced.