Displaying items by tag: Leonard Bernstein

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

West Side Story is just as exciting, vibrant, and moving today as it was when it was first created in 1957. Filled with timeless songs and choreographed dance numbers that are as original as they are visually stunning, West Side Story continues to delight audiences old and new, and Lyric Opera House’s latest offering of this musical masterpiece checks all the boxes. Conceived by Jerome Robbins with lyrics by Stephen Sondheim, music by Leonard Bernstein and book by Arthur Laurents, West Side Story is considered to be one of the best musicals ever created. One cannot help but be pulled in by the production’s engaging story, astounding vocal performances and original dance scenes that incorporate a fusion of ballet and modern dance.

Inspired by William Shakespeare’s tragic love story, Romeo and Juliet, West Side Story turns the feuding Monague and Capulet families and love-stricken teens, Romeo and Juliet, into a New York setting that has the white kid Jets fighting to keep the Puerto Rican Sharks out of their neighborhood. Romeo is replaced by Tony, the former leader of the Jets and Juliet becomes Maria, the sister of Sharks leader Bernardo. When Tony and Maria fall hopelessly in love at a neighborhood dance social, the two are immediately thrust beyond the racial barrier that has caused hate between the rivaling gangs and breaking free from their past will be nothing less than challenging.

The cast of West Side Story. Photo by Todd Rosenberg.

In Lyric Opera House’s production of West Side Story we are met with stunning sets designed by Peter J. Davison that take us to a New York City neighborhood that gives us the feel of the musical’s late 1950’s era while implementing many touches of today’s world, as evidenced by the Bad Bunny poster hung on the wall of Maria’s room. Costume Designer Jessica Jahn also sprinkled in a mix of yesterday and today combining the white t-shirts, cuffed jeans, Converse All-Stars and flashy dresses that represented the late 1950’s with today’s skinny jeans, striped basketball pants and hairstyles that include shaved line designs and manbuns. I found the blended sets and costumes a bit confusing at first, but it does work. Perhaps the modern-esque makeover is done to remind theatergoers that racism didn’t just take place way back when but is also present in today’s world and that there is still plenty of work to do.

Brett Thiele as Riff and Yurel Echezarreta as Bernardo in West Side Story at Lyric Opera House. Photo by Todd Rosenberg.

This production has a special cast. Audience members are treated to sensational vocal performances by Ryan McCartan as Tony, Kanisha Feliciano as Maria. Both McCartan and Feliciana have show-stopping moments during their vocal performances and their chemistry feels natural. Lyric hits the jackpot with both and McCartan and Feliciano’s performances. While McCartan’s beautiful rendering of “Maria” is vocally superb and heartfelt, Feliciano’s captivating performance of “Somewhere” also delivers in grand fashion. Both have tremendous range and seem to effortlessly take their voices wherever they need to go.

Maria!
I've just met a girl named Maria,
And suddenly that name
Will never be the same to me
Maria!
I've just kissed a girl named Maria,
And suddenly I found
How wonderful a sound can be
Maria!
Say it loud and there's music playing,
Say it soft and it's almost like praying

Amanda Castro thoroughly embodies the strength of Anita, Bernardo’s girlfriend, and wows us with both her voice and her skilled dancing ability, particularly when leading the Shark Girls in a colorful rendition of “America”. Brett Reile as Jets leader Riff and Yurel Echezarreta as Bernardo also play key roles in making this production as great as it is. Reile’s Riff is edgy and street tough perfectly personifying the “When you’re a Jet you’re a Jet all the way” modus operandi, while Echezarreta gives us a Bernardo who can go toe-to-toe with anyone. Of course, the ensemble is pivotal to the show’s success and this ensemble is just incredible and awes the crowd in one huge dance number after another.

Conducted by James Lowe and directed by Francesca Zambello, Lyric gives us a fresh take on the classic smash hit that audiences have been enjoying for the 60-plus years. West Side Story is a production for everyone. Its message of coming together still resonates today, and its fulgurous dance numbers and song performances will never become dated.

This brilliant production of West Side Story is being performed at the Lyric Opera House (20 N. Wacker Drive, Chicago) through June 25^th. The running time is 2 hours and 30 minutes, which includes one intermission. For tickets and/or more show information, click here.

Highly recommended.

I have to admit up front - I am a full-on West Side Story fan girl. I have seen the movie, released in 1961, probably 100 times. I know the plot, the words to every song, the dance moves, and have viscerally felt the teenage angst that is the underlying basis of the plot...for well over 50 years. I credit Leonard Bernstein, Stephen Sondheim and the original writer, Arthur Laurents with kickstarting my love of all things Shakespeare (West Side Story is an updated take on Romeo and Juliet.) I kneel and utter multiple huzzahs to the brilliant Choreographer, Jerome Robbins who, for crying out loud - came up with moves so outrageous and fluid that every dance inspired child of the early 1960’s spent hours learning how to snap their fingers below their knees as they moved stealthily forward while trying to control their rage.

Yes, I am a fan. And as some would say an obsessively, vested fan...I can honestly state that The Lyric Opera of Chicago’s production of West Side Story is spot on. It will not let you down. While it is comforting in its homage to the original Broadway play and subsequent movie, it adds some little idiosyncrasies of its own that makes you nod and realize that yep, this stuff is still going on-500 plus years after Shakespeare conceived of star-crossed lovers and the intolerance of bigotry.
Now, down to the meat of this production.

Mikaela Bennett as Maria, displays the full range of emotions of a young, protected yet curious girl, new to the reality and struggle of leaving her home and trying to break free to embrace her pending adulthood and new life. Ms. Bennett’s vocal range is mesmerizing. She has a clarity to her notes you rarely hear outside of traditional opera. She also personifies the innocence and joie de vivre of a girl stepping forward to become a woman. She is a lovely actress, and her Maria goes deep to the heart.Corey Cott, as Tony steps up into the role that Richard Beymer stamped into our consciousness. He steps up, and over. Realistically, the role written as Tony is kind of light, dialog-wise. But Mr. Cott’s voice is so deceptively amazing, it leaves one almost breathless. The man has mastered the “Devil’s Triangle” of notes. Kudos, Sir. You made us cry.

Amanda Castro as Anita is edgy, punky and truly inhabits a proud Borinquena taking control of her life and love. She has the fricative vocal ability to really emphasize her strength and make you feel that whatever comes out of her mouth should be stamped with an exclamation point!
Manuel Stark Santos as Bernardo, though he doesn’t really have any musical solos-is a presence on stage in and of himself. His big brother slash gang leader is dominating and realistically embodies the macho-ness of Hispanic culture. This is no George Chakiris in brown face...this is an actor who shows us on stage what cultural machismo entails.

Brett Thiele as Riff is more talented, vocally pleasing and better looking than the movie version. He shows us a few more layers into a character that has been generally portrayed as depth-light.

The remainder of the cast is talented and on point in their portrayal as followers to the main characters. All are in of themselves wonderful singers and dancers, and they do this production proud.

The production and stage crew were fluid, efficient and cohesive. I really enjoyed how symbiotic the set changes were. It’s probably one of the more demanding jobs and they did it faultlessly.

Lastly...the orchestra conducted by James Lowe was, as to be expected - stellar. Ladies and gentlemen, you took my breath away.

All in all. I highly recommend The Lyric’s production of West Side Story. For a tragic story, it left me full of joy.

Through June 2nd at Lyric Opera of Chicago.