Auditorium Employee Retires After 47 Years

After 47 years, our long-term employee Frank Romeo is retiring. His last day at the Auditorium is this coming Sunday. We found this fantastic article about Frank in the Summer 2007 issue of Roosevelt University Magazine. Thank you for your years of service Frank! Click here to read the article.

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.

Auditorium Theatre Junior Board Kicks-off Membership Drive

The dress circle of the Auditorium Theatre was packed with young Chicagoans this past Saturday night as the Junior Board hosted a private reception before watching River North Dance Chicago take to the theatre's historic stage. The Junior Board, a diverse group of young professionals committed to furthering the mission of the Auditorium Theatre, is devoted not only to helping fund the restoration and preservation of our National Historic Landmark Auditorium Theatre, but also to raise awareness and generate support for the Auditorium’s educational outreach efforts and world-renowned programming. Part of this goal will be expanded in 2014 as the board kicks off an initiative to develop a base of Members-at-Large throughout the city. Members-at-Large will have the opportunity to attend Junior Board events and fundraisers throughout the year, spread awareness about the theatre during the pivotal 125 Season which begins this September, and participate in volunteer activities.

The event this past Saturday showed the board is off to a promising start for the Members-at-Large campaign. Attendees at the River North reception came from all different types of professional backgrounds. One of the great parts about being an Auditorium Theatre supporter is the interaction it provides for young Chicagoans with a variety of interests. The Junior Board currently consists of architects, marketing executives, attorneys, bankers, artists, and graphic designers among others, and is expanding rapidly to include a host of young professionals who are helping to bring great things to the city. Among the upcoming projects for the board is a renovation project to provide an accessible entryway for the theater at 50 E. Congress Parkway, as well as a fundraiser on June 10 for the theatre's Hands Together, Heart to Art performing arts summer camp for children who have lost a parent. The Junior Board and Members-at-Large will also be working to promote an upcoming “Made in Chicago” Film Series for the 125th Anniversary Season. The film series will be free to the public and give the board a great chance to showcase the breathtaking theatre to a widespread audience. Stay tuned for the possibility to vote on one of the movies that will be screened.

If you are interested in becoming a Member-at-Large, please contact Amanda Martinez Byrne at 312.341.2364 or abyrne@auditoriumtheatre.org.

Upcoming Dates for Members-At-Large:

Tuesday, June 10, 2014: Trivia Night at Diversey Yacht Club – proceeds support the Auditorium’s Hands Together, Heart to Art summer performing arts camp for children who have lost a parent.

Friday, July 18 & Friday, August 1, 2014: Hands Together, Heart to Art Junior Board volunteer days.

Friday, September 26, 2014: The Devil’s Ball – Another perk included in the Membership-at-Large program is a ticket to the Junior Board’s annual Devil's Ball, so mark your calendars for September 26, 2014 so you can party with us Chicago-style, take backstage tours of the theatre, and bid on auction items while sipping champagne!

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!

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.

The Arts: A Love that will Last a Lifetime

By Kelly Saroff, Auditorium Theatre Intern

Ever since I was five years old tagging along to my sister’s piano lessons, I have been intrigued by the arts. For almost as long, I have enjoyed organizing, scheduling, and communicating with others to make initiatives successful. So when I discovered Arts Administration as a career option, I was hooked.

Music has always been my passion. I started playing piano in elementary school, but it was my dream to play flute. The instrument fascinated me, and I wanted to be able to produce its characteristically beautiful, singing sound. I was so excited when I entered the band program in sixth grade and was able to pick up the flute for the first time. It wasn’t quite the magical experience I had hoped for—in fact, it took me several weeks before I could actually make a sound on the instrument! However, I kept working through middle and high school and eventually progressed to making the District and All-State Bands as well as participating in elite area youth ensembles. I attended a summer intensive music festival, where I began to seriously consider music as a career. I grew in my skills as a performer and musician, and I learned to love music in an entirely new way.

This experience inspired me to pursue a degree in Flute Performance at the Bienen School of Music at Northwestern University. I soon discovered that while I loved performing on the flute, I also enjoyed being active in student groups on campus. As the former president of my sorority and a current vice president for the Panhellenic Association, I have found that I really enjoy working with others and being involved in the administrative or management aspects of an organization. These interests led me to explore the field of Arts Administration and eventually pursue a minor in Arts Administration along with my degree in Performance.

I have previously held Arts Administration internships at the Atlanta Symphony Orchestra, South Arts, and The Atlanta Opera. All three internships gave me different opportunities in the broader field of Arts Administration, and all of them confirmed my interest in Arts Administration as a career path. I am thrilled to be working at the Auditorium Theatre, where I am getting hands-on field experience at a very well-established arts organization in the heart of Chicago. I have already had the opportunity to assist with final preparations as well as attend two of the Auditorium Theatre’s major events: The Devil’s Ball and the Gala. I am excited to see what else my internship has in store as I learn about Development in a theatre setting.

My love for flute, music, and the arts is one that will last a lifetime. Combining my skills and my different interests has led me to expand my field experience through an internship at the Auditorium Theatre. As a college senior, I look toward the future as an opportunity to explore my love for the arts in a career in Arts Administration.

Click HERE to learn about internship opportunities at the Auditorium Theatre.

From Young Passions to Big City Ambitions

By Amber Snearl, Marketing Intern 

Amber Snearl, Marketing Intern

Wearing a nice dress, putting on my best hosiery, and pulling my hair back so nicely that I looked as good as those on stage was a routine as a child. Being a part of the audience was just as important to me as being on stage was to many performers. You see, I’ve always been a fan of the theatre and have utilized every chance that I had to be in attendance at shows. Growing up in the city of St. Louis led to great opportunities for me to attend live theatre events. Between attending Shakespeare in the Park every summer and seeing live musicals at the Fox Theatre on a regular, I was always able to get my dose of theatre just when I needed it.

As an elementary student, I was very musically inclined; I played the trombone for three years and even worked my way into the school’s jazz band by the time I was in the sixth grade! Each chance that I got, I was playing in a talent show, being the supporting sound to a choir performance or even writing my own tune to show to my instructor.

While those years were fun, it wasn’t until I began my transition into middle school that I realized I no longer had a passion for being in the shows as much as wanting to know what went into producing them. As years passed I slowly came to the realization that I was more of a behind-the-scenes kind of girl! Marketing seemed to be right up my alley and I began to gear my education towards that while making it my major at Roosevelt University.

Diving into the major related courses is what has really gotten me inspired to market! It was Business Communications, BCOM 301, to be exact that opened my eyes to all that I could do with a degree in Marketing. I was able to create visual ads and draw up plans that would allow for a product or company to be exposed to the world. I got some kind of rush out of those projects and my inspiration and creativity just got flowing and hasn’t stopped since! I’m glad that it hasn’t, seeing as I have landed an internship with the wonderfully historic Auditorium Theatre of Roosevelt University. Within my first weeks already, I have been exposed to wonderful theatre. Seeing Ballet West perform The Sleeping Beauty in Roosevelt’s very own Historic Landmark Theatre has been wonderful and has shown promise that I will enjoy my time here.

Being here has allowed for that sweet memory of my childhood to spring back into the present while mixing my strong interest in Marketing all into one great experience. Being hired to intern here has not only helped me to gain a vision of what a possible career path could be like, but it has allowed for me to be back in the atmosphere of something that I have always enjoyed, and that is the theatre!

Living my Childhood Dream with Ballet West

By Tom Mattingly, Ballet West Dancer

I grew up in Ridgecrest, CA.  It's a small town that the billboard on highway 395 states is "the gateway to Death Valley." It was mostly sand and tumbleweeds.  The tallest building in town was around three stories high.  My father was a teacher and my mother an artist. From an early age I loved dancing to music. Fred Astaire and Kurt Browning were my idols (Michelle Kwan too). At four years old I was a regular at dance school. Sierra Academy of Dance was a small studio, usually hovering around 55 students total, with just one boy – me. 

Joffrey Nutcracker tour to California.
Photo by Mark Goldweber

When I was eight or nine I learned about the Joffrey Ballet and what it meant to be a professional dancer. I had no idea that dance could be a career until then, and I knew instantly that that was what I wanted to do. When I was 11 I auditioned for the Joffrey's tour of "The Nutcracker" at the Orange County Performing Arts Center. I made the cuts and became “Party Boy 4.” We had to learn the choreography quickly, stay in line and hope that our props (mine was a wheeled toy bear on a string) had no snafus. A man named Mark Goldweber was my rehearsal master and another (very tall) man named Adam Sklute was my Drosselmeyer. Move ahead 10 years and I've been offered a corps de ballet job with Ballet West by artistic director Adam Sklute and ballet master Mark Goldweber. When I told Mark that I was a Party Boy years ago his eyes lit up, and he excitedly said "I remember you! You had a little bowl cut and just learned how to shimmy!" The next day he came to work with a photo to prove it. It was me without any doubt. 

I've been to Chicago with Ballet West once before. We were performing Jiri Kylian's "Sinfonietta" as a part of the Chicago Dancing Festival. I was the traveling understudy. While it was great to visit Chicago with a light schedule, I was sad to not be dancing with the rest of the company. Adam promised me that next time we came to Chicago I'd be on stage. He made true on his promise and I am going to be one busy guy this week! I'll be dancing both casts of Prince Floristan in "Sleeping Beauty". It's a classical pas de trois with an incredibly demanding "Speedy Gonzales" type variation in the middle. Mark choreographed this on me when we premiered "Sleeping Beauty" in Salt Lake in 2011.  In the Gala performance I'll be featured in Nicolo Fonte's "Presto" and Val Caniparoli's "The Lottery." Fellow BW dancer Katie Critchlow and worked with Val to create the solo in "The Lottery" last fall. Neither of us has pulled the lot yet but I'm dying (pun) to choose the marked ballot this weekend. "Presto" is not only a Chicago premiere but a world premiere that Nicolo made in August. I'm in the unique position of exclusively performing choreography that has been made especially for me – it almost puts me in a comfort zone. 

Performing at the Auditorium Theatre is special for another reason as well. In May I had surgery to remove four bone spurs and a mass of scar tissue from my right ankle. These performances in Chicago will be my first with Ballet West since April. A tour of this nature might seem like an awful lot of pressure, but I couldn't be happier. I came from a small desert town and now I'm living my childhood dream and even getting paid to do it.  I'm dancing roles made especially for me by choreographers that I love and admire. I can't wait to take on this challenge and to have a few thousand people loudly smack their hands together when I'm done. 

Hopefully Mark will look down and smack his hands too. 

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For tickets and information please click HERE.