A Look Back: Israeli Folk Dancing, Idan Raichel and My Year Spent in Israel

Tonight at 7:30 pm, The Idan Raichel Project graces our landmark stage for a night of world-music and a wonderful blend of cultures.  After tonight’s two-hour concert, we also invite audience members to join the Chicago Israeli Dancing organization in our Katten/Landau Studio for an interactive Israeli folk dance class. Click here for more information about the performance tonight.

A Look Back: Israeli Folk Dancing, Idan Raichel and My Year Spent in Israel

By Auditorium Theatre Production Associate Matthew Tepperman

In anticipation of tonight’s performance of The Idan Raichel Project at Auditorium Theatre and the subsequent post-show, folk dancing event in the Katten/Landau Studio held by the Chicago Israeli

Dancing organization, I would like to share a story about myself.

I am not a professional dancer or ballerina at all. In fact, if you met me in person, you’d say I’m as graceful as an elephant. And you’d probably be right at that, too; however, there’s something about Israeli Folk Dancing that makes me feel like I have been a dancer all my life. 

When I was eleven years old, I learned about Israeli Folk Dancing at Camp Ramah in Wisconsin.  As campers, my friends and I each participated in a quick dance class as we were sampling through all of the arts activities. We learned a few easy dances for the week before moving onto the next activity.  At the end of the week before the lunch hour, the camp took a half hour of free time to perform these dances at a large area down by the lake.  At that point, those who knew or wanted to learn the dances would all participate in a really fun afternoon of Israeli Folk Dancing.  There were campers and staff of all ages that joined in and soon enough, the whole area was filled with folk dancers!  I remember as a camper, or even later as a staff member at Camp Ramah, if it was a Friday afternoon before lunch, I would be dancing down by Lake Buckatabon with more than half the camp while the rest watched on.  And even after all these years, I still remember those dances.

Let’s then flashback to eight years ago. I had recently graduated high school and made the decision to defer my freshman year of college to study and live in Israel for the year. One of my first memories of living in Israel is of participating in a great night of Israeli Folk Dancing. A handful of my friends and I were walking through Emek Rafaim in Jerusalem and went to one of the school halls nearby that hosts many nightly programs for adults. When we got there the room was already full of people dancing in a giant circle. It took a minute to understand the choreography mid-dance, but as soon I picked it up, I jumped right in and felt like I had been doing it for years. That’s the great thing about folk dancing: it’s very communal, very fun to participate in, and anyone can do it.

As someone who has lived in Israel and experienced the culture and even seen The Idan Raichel Project live in Israel before, I can’t help but think back to those fond memories. This is mainly because everything The Idan Raichel Project does musically is so memorable. I can still recall the past two times I saw him live and what I was doing. The collaboration of additional cultures into melodies that the group produces, and the amount of energy the singers put into their performance is almost unparalleled. They always make the experience not just intimate and enjoyable, but very meaningful as well.  As a fan of The Idan Raichel Project and as someone who has experienced the culture, I cannot be more thrilled that they will be performing at Auditorium Theatre.

Illinois Native Michael J. Novak – Dancer for Paul Taylor Dance Company

Being a dancer in the Paul Taylor Dance Company, I am so very blessed to travel the world doing what I love. I will soon be entering my fifth year with this organization and I have traveled to 64 cities and 6 countries.  But in all those travels no city can compare to the city where I grew up: Chicago. 

Now, in truth I was raised in the northwest suburbs, first living in Elk Grove Village and eventually in Rolling Meadows where I spent most of my childhood.  When I was growing up, “going downtown” meant an adventure, usually because it was saved for special occasions: holidays with the grandparents; seeing the Christmas windows at Marshall Field’s; or day-trips to the museums.

Funny enough, the Auditorium Theatre holds a very special place in my heart. When I was about nine, my parents took me to see my first Broadway musical - "The Phantom of the Opera" – at, of all places, the Auditorium Theatre.  We sat very close to the stage that night, and, being so young and impressionable, I was taken away by how such a fantastical world felt so real and accessible.  I don’t think I knew that I wanted to be a performer that night.  But I knew I never wanted that experience the end.

As I grew older I eventually started taking dance classes at the Bonnie Lindholm School of the Dance in Palatine, IL.  Chicago, however, stayed in the periphery as every year our dance troupe went downtown during Thanksgiving to perform for the Magnificent Mile Lights Festival. The temperatures were usually frigid, but dancing downtown, especially along Michigan Ave for the Tree-Lighting Parade, is a very special memory for me. There was something about the magic of Christmas in the city (not to mention the magic of dancing alongside Mickey Mouse and Goofey) that made me so happy.  It was literally the stuff dreams are made of.

When I started attending William Fremd High School, the Drama Department became my home away from home.  I loved doing theater, but dance – true dance – started to become a calling for me, and I started to shift my focus to my dancing. Once I was old enough I would ride the train downtown to take the professional classes at Lou Conte Dance Studio. Of course, I had no clue what I was doing in those advanced classes. Honestly, I would just stare at the Hubbard Street company members. I remember being so distracted by their brilliance I never actually learned the combinations in class. Afterwards, I would spend the rest of the day downtown: always stopping by The Palmer House Hilton then walking to the Art Institute, north along Michigan Ave to Water Tower Place and spend the late afternoon at the Ohio Street Beach.

A lot has happened since those long days strolling downtown as an aspiring dancer. There have been many adventures, injuries, unexpected surprises, and struggles...lots and lots of struggles. It took almost ten years for me to find a dance company where I felt home, but the search was not in vain.  At the age of 27, I was asked to join the one and only company I yearned to dance for: the Paul Taylor Dance Company.

What is it about Paul Taylor’s company? Well, the repertory is remarkably vast; it’s emotionally sophisticated, and it can be as dark and disturbing as it is glorious. Then there are the dancers.  No one can dance like Taylor dancers dance. They understand the beauty and thrill of a simple walk, run, fall, and jump, and they execute them with a reckless abandon that is truly spectacular.  To dance among those accomplished artists and find myself grow with them is truly a dream come true. And to work with a master like Paul Taylor in the studio? Well, it's life changing, honestly.

I have not performed in Chicago since 2001, and to be returning as a member of the Paul Taylor Dance Company... to be dancing at the Auditorium Theatre... and to be staying at the Palmer House downtown? It's going to be a surreal experience!  I'm looking so forward to showing my friends and family what I've been doing for the past 13 years, that it's been worth it, and that Paul Taylor's company is where I am home. But I think deep down there's something else I'm looking forward to: walking around the city as a critically acclaimed dancer of one the world's best dance companies and saying, "Remember me Chicago? Well, I’m proud to say I finally made it."

Michael J. Novak performs with Paul Taylor Dance Company at the Auditorium on May 17 – 18. Visit the website for tickets and information.

Dancing in Chicago - Thodos Dance Chicago's Tenley Dorrill

The Auditorium Theatre is so thrilled to bring a collection of Chicago dance professionals together for the week of June 23 – 28 to teach our first annual “Made In Chicago” Dance Intensive, a week long summer camp for dancers age 10+ with at least two years of dance experience. We kick off our “Made In Chicago” Dance Intensive blog series with a peek at Thodos Dance Chicago’s teaching artist, Tenley Dorrill!

Dancing in Chicago:  As a senior in college I feared graduating without an answer to the question everyone was asking, "What are you doing after graduation?" I knew of many dance companies that I would love to be a part of, but I wasn't sure where to audition. I had attended Hubbard Street's dance intensive the summer before and had heard of Thodos Dance Chicago. After a few months of researching I came back to the company and discovered how well it matched what I wanted. Located in the city of Chicago, I knew that I would have the opportunity to take open class, teach dance, and be a part of a large dance community. Thodos stated that they valued dancers who were also choreographers, and they offered their own unique outlet for dancers to create, teach, and perform. The audition was intense with four cuts narrowing the group to four people (three of whom are now company members).  Melissa Thodos asked those auditioning to perform a self-choreographed solo then sit for an interview. The interview questions were very thoughtful and I could tell that they knew what they were looking for, which is something I respect. I was given an offer to be a "dancer apprentice" in the company. I was thrilled! I knew how lucky I was to have the opportunity to live and dance with such a great company in this wonderful city.

I began to prepare for life in Chicago by finding two roommates from Craig's List and applying to teaching positions. I applied all over the city and only heard back from a handful. I accepted jobs at Thodos's youth program, North Suburban School of Dance, and Chicago Contemporary Dance Theater.  Thodos started in August and I don't think we ever stopped until our Harris show in March! Learning so many dances in such a short time proved to be a great challenge. In many of the dances I was the only person who had not performed the piece, and I needed to learn extremely fast. At SMU we had many performances but usually focused on only a few dances during a semester. At Thodos, the company was working on over ten concert works, two story ballets, and two educational shows over the course of a few months. The pressure was great but I had the most wonderful season working with the incredibly talented company members and leaders who constantly inspired and encouraged me every day. 

Thodos threw me into many parts that challenged me in new ways. The most significant was the role of Helen Keller in "A Light in the Dark." Only after my first performance did I believe I could embody this complex character. The story is very emotional with highs and lows shifting moment by moment. I got some great advice about portraying Helen from one of the members of Thodos, Natalee Cooney, who has a BFA in Theater from NYU. She told me to always think about what Helen wants. Does she want love and comfort when she thrashes in anger? Does she want to find truth when she feels her teachers’ hands? This completely changed the way I approached the emotional range of Helen. Instead of thinking, "Ok, this is when I'm supposed to be happy" I thought about why Helen would be happy. This feedback from Natalee has also influenced the way I want to perform in other non-character driven pieces. Every piece has a tone or persona to convey. I want to always pursue honesty on stage and asking why I, the dancer, want to move in a certain way. I hope to find more integrity and transparency in my performance by constantly asking myself, “What do I want for this piece?” Once this question is answered, I understand where my purpose is and how I can give myself to the roll in an authentic way.  

My greatest challenge in the transition to professional life is finding joy and satisfaction in everything I do as a student, teacher, and performer.  Dance is almost like a truth serum in that the observer can always tell your intention.  Dancers are always on display and the constant criticism can cause damaging effects to an artist's confidence.  Throughout this year, I have at times felt lost in knowing my purpose as a dancer and teacher.  The thing that gets me out of this funk is shifting my mindset from focusing on my own needs and instead working for the greater good of others.  One of my favorite quotes is by Lewis Carroll, “One of the secrets of life is that all that is really worth the doing is what we do for others.” Great art and satisfaction comes from the act of giving and not taking. Dancers are, in some ways, naturally inclined to take and be selfish artists.  We take instruction and criticize its impact, we take choreography and judge its value, we take the stage from others through our desire to be seen.  This result is emptiness because dance is a fleeting fulfillment. If we constantly seek to give ourselves to this craft through a strong presence in class, a positive and engaged response to the choreographer, an active connector to fellow performers, we can feel more fulfilled and less selfish in our art. The career of a dancer is never stable or consistent.  The task must be to find consistency in an understanding of your reason to pursue dance.  

It is so important to keep reminding yourself why you dance and why you can meet the demands of performing professionally. We are constantly seeking approval from others and will rarely get the feedback we want to hear. Instead of seeking acceptance from others, seek to find satisfaction in the moment. Find what encourages you every day whether it is helping others or creating art.  Whenever I begin to doubt myself in a rehearsal I often imagine that my close college friends are in the room and supporting me. It takes me back to my safe place at the SMU dance facility where I felt comfortable to do anything. I am seeking to find comfort in this new home. A dancer always needs to be improving and learning from others, while also maintaining our integrity to what makes us unique. 

For more information or registration for our “Made In Chicago” Dance Intensive, click here or contact Katie Brown at kbrown@audiotirumtheatre.org or Kristen Smiley at ksmiley01@auditoriumtheatre.org.

Jonas Friddle and the Majority - Live at the Auditorium

The Auditorium Theatre is excited to welcome Jonas Friddle and The Majority, the winning band in our Chick Corea and Bela Fleck contest! The band was one of over 30 to enter for a spot to perform in the historic Auditorium lobby proceeding Chick and Bela's concert on April 5.

Jonas Friddle and the Majority has a huge sound that combines string quartet, horns and rock and roll drums for a melody filled, dance inspiring result. Jonas' arrangements and songwriting are heavily rooted in traditional American music. His passion for old-time style banjo from his native North Carolina leads to rhythmic and rolling compositions. At the same time this founder of The Barehand Jugband pulls from the raucous sounds of 1920s blues and string bands for dance inspiring tunes. Friddle has received recognition as a songwriter, including Song of the Year in the John Lennon Songwriting Competition and First Place in the Great American Song Contest. He is joined by the Majority, a group of talented multi-instrumentalists that found each other at Chicago's Old Town School of Folk Music. The full band has been playing together since 2012 and includes drums, a string quartet and horns for a unique and huge sound. Following the example of new folk groups like Crooked Still, Abigail Washburn and Old Crow Medicine Show, Jonas Friddle and the Majority look to re-invent traditional songs.

Connect with Jonas Friddle and the Majority on Twitter, Facebook, and YouTube.

Behind the Scenes of Aladdin: Christopher Gray Flies High as the Djinn of the Lamp

By Stephanie Brown, Houston Ballet Public Relations Intern

Christopher Gray as the Djinn (Genie) with artists of Houston Ballet; Aladdin; Photo by Amitava Sarkar

David Bintley’s Aladdin, which runs March 22&23 at the Auditorium Theatre, has a way of enchanting the audience with beautiful, unique props and exquisite, colorful costumes. Below are some photos for your viewing pleasure!

Behind the scenes shots by Stephanie Brown

One of my favorite characters in Aladdin is the Djinn of the lamp (the Genie), and demi soloist Christopher Gray dances his heart out in this role. I was intrigued by his experience in creating his own version of the the Djinn of the lamp (the Genie), so we asked a few questions about the role.

Watch video of Christopher Gray as the Djinn in Aladdin.

Houston Ballet: Tell us about dancing as the Djinn of the lamp (the Genie). What are the most challenging aspects? What are the most exciting?

Christopher Gray; Photo by Amitava Sarkar

Christopher Gray: Hands down, one of the most challenging things is that some of the magical reveals were hidden in set pieces for long periods of time before some pretty difficult dancing. So it’s the opposite of what you would normally do, which is to stay moving, keep yourself loose and then go out and dance. Being crouched down in a small space before having to dance is pretty difficult.

For the most exciting thing, this is my third time flying in ballet, and I always love doing that. The audience always really appreciates it. On opening night during the first scene with the levitation, everybody applauded. It was great! So that’s always exciting for me. It’s a challenge as well because you’re at the mercy of the wire when you’re up there. There’s not too much you can do to keep yourself from spinning or swinging, so it’s learning how to do those small adjustments without putting yourself in a counter rotation.

Houston Ballet: Explain your wardrobe. How do you feel about being painted completely blue?

Christopher Gray: Fortunately, it’s not completely blue. I don’t have to paint my legs. This in terms of ballet costumes is not so difficult to dance in, which I always like. Sometimes we have pounds and pounds of clothing and wigs we have to deal with, so this is relatively simple. [I wear] just a small vest and baggy pants

Artists of Birmingham Royal Ballet; Aladdin; Photo by Bill Cooper

Any time you don’t feel constricted by a costume, which I don’t because there are even shirtless scenes for me, it’s a lot easier to deal with. I prefer pants over tights any day of the week! In terms of wigs, Amanda, our wig and makeup person, has done a great job of making a wig that fits really flush to our heads. We just have a little bit of hair, like a top knot pony tail, which I don’t feel impedes my ability to turn and it doesn’t knock me off center, which is often a problem with costumes.

Being painted blue is hard. I’m there around 6:15 for a 7:30 start time. And that includes not even being on stage until a good 40 minutes into the first act. Overall, I face about an hour and a half worth of body makeup, face makeup, and wigs. It’s difficult and, once again, the opposite of how you would want to get ready for a show…you know, standing there half naked for an hour and a half. I do throw warm-up clothes back on top, but you don’t want to sweat the makeup off. It’s a fine line you have to deal with. I’m getting pretty used to being painted, though. I think this is my third or fourth color!

Houston Ballet: What do you do to get in character for the the Djinn of the lamp (the Genie)?

Christopher Gray: As the body makeup and especially face makeup and wig come along, I feel like that’s part of my transformation. We have these wicked eyebrows and drag queen style makeup. So it’s hard not to look at yourself with a little bit of humor when you see the character staring back at you.

If anything, the one thing that I have been doing is going over the mime section to try to create an aura of power, confidence, mystery, and a little bit of humor as well. Trying to work the fake eyebrows has been fun. As the shows progress, you find more time and space for that on stage and then the character grows from there.

Artists of Houston Ballet; Aladdin; Photo by Amitava Sarkar

Houston Ballet: What do you like about the props and costumes for Aladdin?

Christopher Gray: One of my favorites is probably the most simple: the lamp that lights up. I think it’s very effective on stage. Those few times Aladdin lifts it up and then there’s a big crescendo in the music when it turns on and starts glowing…I think that’s fantastic! Also, the magic carpet is done really well.

I wish I could see the show from the front, but unfortunately that’s not in the cards for me. The lion dance in the second act is a big crowd favorite, and I also dance the head portion of the lion. It’s a lot of fun to do that. It does pose a problem because it’s difficult to hear the music, though. When you start shaking the head all you hear is rattling!

Night Creature, Pas de Duke, The River, Revelations - Alvin Ailey Chicago Program C

Alvin Ailey American Dance Theater visits the Auditorium Theatre for 10 performances, February 28 -March 9, 2014. The company will bring three programs, each featuring different pieces from their repertoire. Learn about the pieces in Program C below!

For tickets and information, click HERE.

Night Creature/ Pas de Duke / The River / Revelations
Running time: approximately 2 hours and 15 minutes
Wednesday, Mar 5 at 7:30PM
Saturday, Mar 8 at 2PM

Night Creature - Choreography by Alvin Ailey

Alvin Ailey’s Night Creature is a bubbly champagne cocktail of a dance, a perfect fusion of Ailey’s buoyant choreography and Duke Ellington’s sparkling music.  At once wistful and sassy, it beckons viewers into a nocturnal world populated by jazz babies and night owls.

Photo by Gert Krautbauer

Ellington said that “night creatures, unlike stars, do not come OUT at night­– they come ON, each thinking that, before the night is out, he or she will be the star.” This large ensemble work is full of such stars — strutting, leaping and slinking through a variety of dance idioms as they flaunt and flirt with each other and the audience. They hold their hands like paws, as if they’re cats on the prowl, then slide seamlessly into balletic allegro jumps, Martha Graham-like contractions and Lester Horton layouts. It’s the definitive dance homage to the exuberance of The Duke’s sophisticated symphonic work.

Pas De Duke - Choreography by Alvin Ailey


Alvin Ailey's PAS DE DUKE from Alvin Ailey on Vimeo.

Pas de Duke is Alvin Ailey’s spirited modern dance translation of a classical pas de deux, originally created in 1976 as a showcase for Judith Jamison and Mikhail Baryshnikov. She was a reigning star of modern dance; he was one of the world’s most famous ballet dancers, having defected from the Soviet Union two years earlier. Ailey made brilliant use of the dancers’ physical and stylistic differences, crafting an elegant, flirtatious work that showed off their exuberance and virtuosity as they engaged in a playful game of one-upmanship.  

The work is comprised of five solos and duets that require extraordinary technical facility, flawless timing, and strong acting skills. Since its premiere nearly 40 years ago, it has been performed by generations of dancers who have each put their own unique twist on the choreography, and it has stood the test of time in part for how perfectly it captures the timeless sophistication of Duke Ellington's jazz music.  The New York Times has praised it as “one of those special dances that lives in new ways with each new set of performers.”

The River - Choreography by Alvin Ailey


Alvin Ailey's THE RIVER from Alvin Ailey on Vimeo.

By turns muscular and lyrical, The River is a sweeping full-company work that suggests tumbling rapids and meandering streams on a journey to the sea. Ailey’s allegory of birth, life and rebirth abounds with water references, from the spinning “Vortex” solo to the romantic “Lake” duet, and from the powerful “Falls” quartet to the joyful “Giggling Rapids.” The choreography demonstrates Ailey’s admiration for classical ballet, but retains the modern and jazz influences found in all his work. “The River shows Mr. Ailey at his inventive best,” declared The New York Times.

The grandeur of the dancing is matched by the music, which was Duke Ellington’s first symphonic score written for dance. Ailey and Ellington collaborated closely on the piece.

This new production has been restaged by Associate Artistic Director Masazumi Chaya, the foremost living expert on Ailey’s repertory. He believes that the ballet feels fresh each time around because “each audience member can make a story of their own from The River. Alvin was very clever; he created something that can be applied to one’s entire life — birth, a relationship with a child, or even one’s impression of a flower. It is what the audience makes of it. It is what it means to the individual.”

Revelations – Choreography by Alvin Ailey

Alvin Ailey's REVELATIONS from Alvin Ailey on Vimeo.

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. More than just a popular dance work, it has become a cultural treasure, beloved by generations of fans.Seeing Revelations for the first time or the hundredth can be a transcendent experience, with audiences cheering, singing along and dancing in their seats from the opening notes of the plaintive “I Been ’Buked” to the rousing “Wade in the Water” and the triumphant finale, “Rocka My Soul in the Bosom of Abraham.”

Ailey said that one of America’s richest treasures was the African-American cultural heritage —“sometimes sorrowful, sometimes jubilant, but always hopeful.” This enduring classic is a tribute to that tradition, born out of the choreographer’s “blood memories” of his childhood in rural Texas and the Baptist Church. But since its premiere in 1960, the ballet has been performed continuously around the globe, transcending barriers of faith and nationality, and appealing to universal emotions, making it the most widely-seen modern dance work in the world.

Journey to Bodhgaya - Cloud Gate Artistic Director & Founder Lin Hwai-min

By Lin Hwai-min

 

Lin Hwai-min photo by Liu Chen-hsiang

I do not know when the name Bodhgaya first entered my mind. For a few years I wanted to go there badly, even if I didn't know what I would do once I got there. I only knew it was in Bodhgaya that Buddha attained his enlightenment under a bodhi tree. In the summer of 1994, when I finally had a few free days, I hurriedly booked an air ticket. Still I did not know why I had set my mind on going.

Bodhgaya was a village with only a muddy track for access. Little shops and open-air stalls gathered around the compound of Mahabodhi Temple to form a market. Constructed in the sixth century, the Mahabodhi stupa, a stone structure, was 50 meters tall. Standing in the temple courtyard, it ascended towards the blue sky. To the back of the stupa stood a bodhi tree, a fourth generation descendent in 2,500 years; its trunk spreading into infinity, and its leaves and branches shielding over mortal souls. The Diamond Seat of Buddha sat beneath the tree; a fence had been set up around it. Monks and pilgrims of different nationalities sat on the ground outside the fence. Under the guidance of the monks, the pilgrims chanted Buddhist scriptures. Between the rising and falling of the chanting, one could hear birds twittering from near and afar.

In the afternoon I would sit on the banks of the Neranjra River outside of the Temple compound and stare blankly at it. The water was muddy and seemed motionless. From time to time, a big bubble would break out and pop, to remind one of the turbulent life coursing underneath the smooth surface of the river.

I suppose that the Neranjra river which Buddha saw would have been flowing in much the same way. It was in the grove of trees on the opposite shore that Prince Siddhartha engaged in six years of ascetic practice on a daily diet of sesame seeds and a grain of wheat, at last reducing himself to skin-and-bones before realizing that this consuming desire to be enlightened was the biggest obstacle to his enlightenment.

So Prince Siddhartha accepted the offerings of a village maiden. He crossed the river to take his place in the diamond seat that destiny had prepared for him.

I stood on the river bank and marveled at Buddha's determination to cross the river.

To turn away from the world and become self-reliant, to live the life of a hermit and practice asceticism, is completion of the self. To receive, to accept another person's bodily warmth was for Buddha, at the moment of receiving, a return to the world of birth, old age, illness and death. Having crossed the river himself, Buddha would now guide humanity to cross it.

The Agama Scripture tells us that, at the time of his nirvana, Buddha did not, as popular Buddhist mythology would have us believe, take leave of the world easily. He summoned his beloved disciple, Ananda, to give him detailed instructions on his cremation and the construction of the stupa. It was too much for Ananda to bear, and he ran into the woods to cry. Buddha heard him crying and called him back to his side and comforted him. There is infinite beauty within the beauty of nirvana – the reluctance to leave, and the reluctance to let go.

On the bank of the Neranjra River, I realized for the first time in my life that Buddha was an ordinary mortal who also endured human confusion and struggle. Out of his compassion, he practiced asceticism and meditation, and pointed out to us the path of salvation. I felt warmth and was filled with love and admiration for Buddha.

I sat quietly under the bodhi tree, shoulder to shoulder with the monks. I opened my eyes, and saw sunlight coming from the top of the stupa through the branches to land directly on my forehead. My heart became full of joy; I felt a quietude that I had never experienced.

Back in Taipei, I often remembered the cool bodhi tree, and the Neranjra River that ran quietly through time. Every day the dancers of Cloud Gate Dance Theatre of Taiwan meditated. I created Songs of the Wanderers with great ease, a work about practicing asceticism, the river's mildness, and the quest for quietude.

As I review this piece of work from 1994, it feels as though I am studying an entry in my diary. The memory of the journey to Budhgaya causes my heart to be overcome with joy, which I hope can be shared with the audience of Songs of the Wanderers.

For tickets and information on Cloud Gate Dance Theatre of Taiwan - Songs of the Wanderers, visit the Auditorium Theatre website.

LIFT, D-Man in the Waters, Revelations - Alvin Ailey Chicago Program B

Alvin Ailey American Dance Theater visits the Auditorium Theatre for 10 performances, February 28 -March 9, 2014. The company will bring three programs, each featuring different pieces from their repertoire. Learn about the pieces in Program B below!

For tickets and information, click HERE.

Win tickets to see Alvin Ailey American Dance Theater by entering our Facebook Contest or our Pinterest Contest.

LIFT* / D-Man in the Waters** / Revelations
Running time: approximately 1 hour and 55 minutes
Saturday, Mar 1 at 2PM
Saturday, Mar 1 at 8PM
Friday, Mar 7 at 7:30PM
Sunday, Mar 9 at 3PM 
* Chicago Premiere
** Company Premiere

Lift - Choreography by Aszure Barton


The Making of Aszure Barton's LIFT from Alvin Ailey on Vimeo.

This propulsive world premiere by in-demand choreographer Aszure Barton accentuates the vitality and physical prowess of the Ailey company. Driven by the dancers’ passion, skill and collective power, the work was created over a 5-week developmental process with the entire Company. The percussive score, composed by Curtis Macdonald, is infused with the infectious energy and heart that she observed in her initial encounters with the Ailey dancers.

Barton’s exhilarating new work, her first commission for Ailey, celebrates and challenges the dancers with its markedly intricate rhythmic patterns and mercurial structure. A much sought-after dance maker whose choreography ranges from Baryshnikov to Broadway, Barton has a style that is “vulnerable and feisty, brightly adept yet peculiar, witty and impetuously wild” (Dancemagazine).

“LIFT embodies an atmosphere and energy created by our time spent together in collaboration. I feel very welcomed by the Ailey family and am honored to be working with such a wonderful group of artists. "
- Aszure Barton

D-Man in the Waters - Choreography by Bill T. Jones


Bill T. Jones' D-MAN IN THE WATERS (PART I) from Alvin Ailey on Vimeo.

In this exhilarating work by Kennedy Center Honoree, MacArthur Grant awardee and Tony Award-winner Bill T. Jones (Fela!, Spring Awakening), rigorous formalism and musicality embody resilience and triumph over loss. The piece captures the infectious energy, innocence and will to survive of a beleaguered generation, and though it deals with sorrow, it maintains a defiantly celebratory tone.

Felix Mendelssohn’s soaring Octet for Strings propels the non-stop momentum, sending the dancers hurling across the stage in a whirlwind of leaps, rolls, and slides. Jones has said that the fact that Mendelssohn was just 16 years old when he composed the work resonated strongly with him. “This piece was created when we were dealing with a lot of death,” he said. “So creating this work was for us a way of dealing with grief, by finding the joy in the music this 16-year-old boy created.”

Jones’ tour-de-force was awarded a New York Dance and Performance (“Bessie”) Award and is praised for being one of the finest examples of the post-modern dance aesthetic. The New York Times called it “a stylish, impassioned outpouring of movement.”

“In a dream you saw a way to survive and you were full of joy.”
– conceptual artist Jenny Holzer

Revelations – Choreography by Alvin Ailey


Alvin Ailey's REVELATIONS from Alvin Ailey on Vimeo.

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. More than just a popular dance work, it has become a cultural treasure, beloved by generations of fans.Seeing Revelations for the first time or the hundredth can be a transcendent experience, with audiences cheering, singing along and dancing in their seats from the opening notes of the plaintive “I Been ’Buked” to the rousing “Wade in the Water” and the triumphant finale, “Rocka My Soul in the Bosom of Abraham.”

Ailey said that one of America’s richest treasures was the African-American cultural heritage —“sometimes sorrowful, sometimes jubilant, but always hopeful.” This enduring classic is a tribute to that tradition, born out of the choreographer’s “blood memories” of his childhood in rural Texas and the Baptist Church. But since its premiere in 1960, the ballet has been performed continuously around the globe, transcending barriers of faith and nationality, and appealing to universal emotions, making it the most widely-seen modern dance work in the world.

Chroma, Four Corners, Revelations - Alvin Ailey Chicago Program A

Alvin Ailey American Dance Theater visits the Auditorium Theatre for 10 performances, February 28 -March 9, 2014. The company will bring three programs, each featuring different pieces from their repertoire. Learn about the pieces in Program A below!

For tickets and information, click HERE.

Win tickets to see Alvin Ailey American Dance Theater by entering our Facebook Contest or our Pinterest Contest.

Chroma** / Four Corners* / Revelations
Friday, Feb 28 at 7:30PM
Sunday, Mar 2 at 3PM
Thursday, Mar 6 at 7:30PM
Saturday, Mar 8 at 8PM
* Chicago Premiere
** Company Premiere

Chroma - Choreography by Wayne McGregor


Wayne McGregor's CHROMA from Alvin Ailey on Vimeo.

The groundbreaking British choreographer's contemporary ballet is full of sensory suprises: sumptuous movement, a driving score by Joby Talbot with orchestrations of songs by The White Stripes, and a luminous set by minimalist architect John Pawson.

“Often in my own choreographies I have actively conspired to disrupt the spaces in which the body performs. Each intervention, usually some kind of addition, is an attempt to see the context of the body in a new or alien way. On reading John Pawson’s Minimum I was captivated by this notion of subtraction, the ‘essential’ space, which seems to reduce elements to make visible the invisible. Intriguingly, although Pawson’s designs do give definition to space(s), they are somehow always boundary-less. This potential ‘freedom space’ would be an extraordinary environment for a new choreography, where the grammar and articulation of the body is made crystal clear, graphic and unmediated. It could be a space where the body becomes absolutely architectural. At the same time, in creating volume(s) of tone for the choreography to inhabit the body can behave as a frequency of colour – in freedom from white: CHROMA."

“I heard Joby Talbot’s Hovercraft piece for orchestra and felt its immediate physical impact – visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of the White Stripes with the enigmatic beauty of Talbot’s own compositions.” -Wayne McGregor

Four Corners - Choreography by Ronald K. Brown


Ronald K. Brown's FOUR CORNERS from Alvin Ailey on Vimeo.

In Ronald K. Brown’s Four Corners, 11 dancers depict spiritual seekers amid four angels standing on the corners of the earth, holding the four winds. In creating his fifth commission for the Ailey company since 1999, the celebrated choreographer turned to the song “Lamentations” by his friend, recording artist Carl Hancock Rux. Drawing from West African and modern dance influences, Brown uses grounded, earthy movements to portray figures who are burdened by grief but ultimately find peace, solace, and freedom with the aid of “the angels in their corners” mentioned in Rux’s text.

While Four Corners is not a literal interpretation of Rux’s lyrics, Brown drew inspiration from the text to manifest storytelling through choreography. Brown expressed his love for poems, stating: “There’s something about the rhythm, and something about the richness of the spoken word that goes right into my heart. When I’m dreaming about movement or seeing movement, poetry comes out.” Though the friendship between Brown and Rux began decades ago, Four Corners provided the first opportunity for choreographer and composer to create a dance work together.

Halfway through the work, there is a palpable shift in energy as the music changes to an undulating, pulsing lullaby by North African vocalist Yacoub, indicating that the winds of change are blowing. Brown also makes use of music by Rahsaan Roland Kirk. Costume designer Omotayo “Wunmi” Olaiya, a long-time collaborator, created flowing garb in rich purples, grays, and blacks. The New Yorker recently hailed Brown as “the choreographer best able to give the virtuosic dancers of Alvin Ailey American Dance Theater works as powerful as their technique. His compositions are hard to resist.”

The ballet is inspired by text from recording artist Carl Hancock Rux’s "Lamentations":

Away they fall
All who stand
At the four corners of the earth
With blades and sheaths
These

Yours is simply this
Command and stand up
Stand
You are beautiful
And lovely
Beautiful and lovely

Revelations – Choreography by Alvin Ailey


Alvin Ailey's REVELATIONS from Alvin Ailey on Vimeo.

Using African-American spirituals, song-sermons, gospel songs and holy blues, Alvin Ailey’s Revelations fervently explores the places of deepest grief and holiest joy in the soul. More than just a popular dance work, it has become a cultural treasure, beloved by generations of fans.Seeing Revelations for the first time or the hundredth can be a transcendent experience, with audiences cheering, singing along and dancing in their seats from the opening notes of the plaintive “I Been ’Buked” to the rousing “Wade in the Water” and the triumphant finale, “Rocka My Soul in the Bosom of Abraham.”

Ailey said that one of America’s richest treasures was the African-American cultural heritage —“sometimes sorrowful, sometimes jubilant, but always hopeful.” This enduring classic is a tribute to that tradition, born out of the choreographer’s “blood memories” of his childhood in rural Texas and the Baptist Church. But since its premiere in 1960, the ballet has been performed continuously around the globe, transcending barriers of faith and nationality, and appealing to universal emotions, making it the most widely-seen modern dance work in the world.

Too Hot to Handel CPS Poetry Contest

Each January, the Auditorium Theatre presents Too Hot To Handel: The Jazz-Gospel Messiah as a celebration of Dr. Martin Luther King, Jr. For the fifth consecutive year, we have invited Chicago Public School students in grades 3-12 to write an original poem celebrating Dr. King's vision of the beloved community. The grand prize winner and runner up will each receive four tickets to see Too Hot to Handel, limo service to and from the theatre, and will have the opportunity to read their poem to the Too Hot audience.  Their poems will also be published in N'DIGO Magazine and every audience member will receive a copy to take home with them.  This year, over 200 students from all over the city entered the contest to share their hopes and dreams for a beloved community.  

Here are our finalists for our poetry contest:

  

Beloved Community

By: Kellvin S. – 6^th grade

Harold Washington Elementary School

A beloved community stands together

A beloved community helps each other

We’re all one and one is all

Let’s strive together from winter to fall

A beloved Community works as a team

Even though we have different dreams

We all have suggestions we like to share

So we come together because we care

“Untitled”

By: Thomas R.—6^th grade

Harold Washington Elementary School

Our beloved community

We are a unity

Where we can have fun

And be serious when fun is done

We will smile together

Til the day is done

And we will join together in the sun

“Untitled”

By: Joshua J. – 3^rd grade

Frank Reilly Elementary School

A lovely city in the world

Not cruel or nasty

The heart in the world of beauty

And not junky

Saving the world in my body

Night and day will be lovely

Lights to Equality

By: Jeanie H. – 5^th grade

Philip Rogers Elementary School

It’s time to walk hand in hand,

It’s time for a world of equality,

It matters not what you are, or whom you claim to be,

You’re you, and that’s good enough for me.

Can’t we see who we are,

Our hearts have strayed too far.

Everyone wants happiness,

No one wants pain.

But you can’t have a rainbow,

Without a little rain.

Martin Luther King Jr.

By: Coura M. – 5^th grade

Phillip Rogers Elementary School

Martin, Martin, Martin

What good you have done

We have all come together

United as one

Love, peace, and respect

You have brought to us

Without your courage, and bravery

Who might we trust

Thank you for your hard work

Risking your life for us

You will be in our hearts forever

Holidays at #theAud Photo Contest

Holidays at #theAud Photo Contest

Enter to win a pair of tickets to

Too Hot to Handel: The Jazz-Gospel Messiah!

How to Enter: Photograph yourself, your friends, or your family at the Auditorium Theatre this holiday season. Post the photo on your favorite social media sites following the instructions below to enter.  Be sure to make your post "public" so that we can see your entry! You may enter as many times as you like - the more photos, the more chances to win!

Please note:  Photos may be taken in the lobby or after the performance inside the theatre.  No photos may be taken inside the theatre before or during the performance.

There are three ways to enter:

Facebook – tag the Auditorium Theatre in your post or photo
Twitter - tag @auditoriumchgo and #theaud
Instagram – tag @auditoriumtheatre and #theaud

Prizes: Two winners will be randomly selected. Each winner will receive two (2) free premium tickets to Too Hot to Handel: The Jazz-Gospel Messiah, January 18 & 19 at the Auditorium Theatre.

Contest Rules: No purchase or payment necessary to enter or win a prize.  Must be 18+ years of age. Contest ends December 31, 2013 at noon. The submitter certifies he or she has obtained permission from all persons appearing in the entry; however, only the entrant submitting the entry is eligible to win the prize. Photo must not contain material which is sexually explicit, obscene, violent, illegal, or offensive. Photo must not include 3rd party trademarks, logos, or insignias. You must tag @auditoriumchgo or #theaud in your Twitter post to enter.  If you enter on Facebook, you must tag the Auditorium Theatre Facebook page, Auditorium Theatre of Roosevelt University. Tag @AuditoriumTheatre or #theaud on Instagram to enter. Posts must be made "public" to be entered to win.  Auditorium Theatre staff will contact winners via Facebook, Twitter, or Instagram; failure to respond after 48 hours of notification may lead to the forfeit of prize. Photo entries will be used by the Auditorium Theatre to promote the contest, the Auditorium Theatre, and the programming at the Auditorium Theatre. This contest is in no way sponsored by Facebook or Twitter and is being run exclusively by the Auditorium Theatre of Roosevelt University. Void where prohibited.

Speaking the language of Hungarian folk dance

By Tibor Horváth, Former Dancer with Hungarian State Folk Ensemble

My passion for Hungarian folk dance can be attributed largely to two factors: my parents, and my dance instructors. My parents, because they passed on to me a love of Hungary and things Hungarian, and my dance instructors, because they taught me the language of Hungarian folk dance.

Sándor Timár, one of the founders of the Hungarian táncház or “dance-house” movement, believed that the ability to learn Hungarian folk dance was comparable to learning a foreign language. First, you learn words, then phrases, then whole sentences. Once fluent, you can construct these sentences in any manner to express yourself. Such was the method by which I learned the dances of Hungary and Hungarians in Transylvania.


I grew up in Seattle, Washington, to parents who had emigrated from Hungary, and began dancing in my early teens with the local Hungarian dance group. While we learned choreographies to perform, the goal of the instructors in my group was to learn the dances inside and out, allowing us to dance freestyle, just as these dances were originally danced in the villages. In some places, most notably among Hungarians in Transylvania, they are still danced today at celebrations and village events.

Learning Hungarian folk dances allowed me an avenue to connect with my heritage. Each region has distinct costumes and step-work associated with it. The music, as collected by greats such as Béla Bartók and Zoltán Kodály, shows an amazing diversity from region to region. The folk costumes are equally diverse, and in some cases, are covered in intricate beadwork or embroidery. The men’s dances, in particular, demonstrate a virtuosity of complicated slapping and footwork that is not found elsewhere. I feel I learned more about the customs and people of Hungary through dance than I could have in any other way.

In the fall of 1990, following a tour of Croatia with a Seattle-area Croatian group with which I also performed, I travelled to Hungary to study on a scholarship with a university in Budapest. Shortly after arriving, I was afforded the opportunity to audition for the Hungarian State Folk Ensemble, then under the artistic direction of Sándor Timár. As nervous as I was, I was surprised that I didn’t fail the audition. Being the first foreign-born Hungarian to be awarded a contract, I felt extremely honored.

The next two years were difficult, but also rewarding. I had arranged to take my university classes in the evening, allowing me to go to rehearsal five days a week, from early morning to mid-afternoon. On days we had performances, I would leave class early and race back to the theater in time for group warm-ups and preparations before show time.

I still dance today, and especially enjoy dancing at táncház parties. The band plays cycles from different regions, and everyone dances that particular region’s dance freestyle, improvising motifs and footwork based on the appropriate “vocabulary” of that region. While I believe there is always more to learn, I consider myself to be quite fluent in the language of Hungarian folk dances.

I was excited to learn that the Hungarian State Folk Ensemble would be performing in Chicago at the Auditorium Theater. It gives me an opportunity to see some friends that still are with the company, but more importantly, it gives a chance for others to see the beauty and majesty of Hungarian folk dance. From the military-style “verbunk” or men’s recruiting dances, to the dizzying spinning of the women in many couples’ dances, the audience will see the variety of Hungarian dance and appreciate the years of training and hours of practice put in by each dancer. From the moment the dancers burst onto the stage, the audience will be treated to the sights and sounds of rural village life presented in a dazzling fashion. In so, they will begin to recognize the language of Hungarian folk dancing. 

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Tibor Horváth has performed Hungarian folk dance for nearly thirty years in front of audiences in the Pacific Northwest, California, western Canada, and Hungary. His tours with the Hungarian State Folk Ensemble also allowed him to perform on stages across Europe. He has taught Hungarian dances to dancers and aficionados, both beginners and advanced dancers. A recent transplant to Chicago, he is currently dancing with the Borozda Hungarian Ensemble based in Norridge, IL.