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.

Ensemble Español's Bolero - 20th Anniversary Celebration

Ensemble Español will perform Bolero as part of the 2013 Chicago Dancing Festival on August 22. Additional information can be found on the Auditorium Theatre website.

Considered Maurice Ravel's most popular work, the Bolero premiered in Paris in 1929. That same year the great conductor, Arturo Toscanini introduced Bolero to the U.S.  Ravel was a great admirer of the Spanish composer, Isaác Albéniz who described his work as "orchestral tissue without music." Bolero consists of a theme and a rhythmic pattern which have permanently impressed themselves on the world's musical consciousness. The Bolero was originally written for ballerina, Ida Rubinstein (Bronislava Nijinska was the choreographer). She presented it as a solitary dancer in an empty café dancing alone until she was joined by one partner, then other couples until the room was a swirling mass. The ballet was a success and the music a sensation. This work is dedicated to the memory of Irving B. Dobkin, long-time officer of the Board of Directors and friend of the Ensemble Español.



Since its creation, Ensemble Español’s Bolero has graced some of the greatest landmark theaters in the world to well over one million audience members and been featured in two documentaries; Dance for Life: 20th Anniversary Documentary in 2010 (winner of two Emmy awards for best documentary and best director –Scott Silberstein of HMS media) and Sobre Las Olas del Mar: A story of Flamenco in the U.S. 2013 by director, Carolina Loyola Garcia. Dame Libby’s Bolero has also been featured on ABC television, Public Television and on Dean Richards, WGN Radio and Television and international media in China, Puerto Rico and Poland.

Internationally Dame Libby’s Bolero has been performed in Puerto Rico, Poland, China and in the U.S. for the St. Louis Dance Festival in 2010, 2011, 2013 to a roaring record breaking 12 standing ovation curtain calls. The Ensemble will present Bolero on August 22 & 24, 2013 in a Chicago historic double header at the Auditorium Theater of Roosevelt University and on the Pritzker Pavillion stage in Millennium Park as part of this years Chicago Dancing Festival.

BOLERO REVIEWS:

"...Bolero a huge success…3,000 people over three performances...so many standing ovations that if the curtain had not finally dropped the audience would still be applauding."
Michael Uthoff, Artistic and Executive Director, Dance St. Louis Festival

“This world-class company and its roster of guest artists never ceases to bedazzle its audiences with the variety, precision, beauty and heat of its performances...knocked it out of the park with Bolero…most phenomenal piece…extraordinary.”
Hedy Weiss, Chicago Sun-Times / Auditorium Theater, Chicago

“Savvy stagecraft…set to Maurice Ravel’s famously escalating composition…sensuous choreography.” Laura Molzahn, DanceMagazine / Harris Theater, Chicago as part of Global Rhythms

“Bolero…beautiful, full of expression and magic…the music, dance and images will surely inscribe themselves in the memory of the audience that gave it a standing ovation and demanded encore” 

Polski Theater, Warsaw, Poland in honor of Warsaw Universities 190th Anniversary

“Ensemble Español Spanish Dance Theatre's bravura benefit debut--opened the show with gorgeous, swirling, red-drenched costumes and dynamite flamenco…there was a kind of dignity to the occasion, visible at the very outset when the crowd was hushed, as if spellbound, by the sheer glamour and spectacle of Ensemble Español's opening, holding back their huzzahs until Dame Libby Komaiko's incandescent take on "Bolero" had ended... exciting, sensual and breathtaking” 

Sid Smith, Chicago-Tribune as part of Dance for Life Benefit Concert at the Harris Theater, Chicago

“I get Goosebumps…absolute harmony…truly spectacular…highly, highly recommend…one of the spectacular performances of Dance for Life I have seen in it’s 20 year history…I cannot rave enough about Ensemble Español and Bolero”
Dean Richards, Entertainment Reporter, WGN Radio and Television, Chicago Harris Theater

The first Dance St. Louis program of the year was a stunner. The artistry and athleticism of the Ensemble Español Spanish Dance Theater lit up the Touhill Performing Arts Center this weekend with an exhilarating and colorful evening of Spanish Regional, Classical, and Flamenco music and dance. Think of it as a Spanish “Riverdance” but farther from Las Vegas and closer to its roots. The evening concluded with what has apparently become a signature piece for the company, a dazzling realization of Ravel’s “Boléro” accompanied by projected images of drawings and paintings by Picasso.”
Chuck Lavazzi, KDHX St. Louis / Touhill Center for the Performing Arts

Ensemble Español Spanish Dance Theater lives up to its name, beguiling the crowd with quicksilver choreography steeped in an atmosphere of romance. In doing so, the Chicago-based company transcends geographic boundaries to get to the essence of what dance is all about: emotion in motion. The evening culminated in "Bolero," set to the famously sensuous Ravel composition and choreographed by the company's founder, Dame Libby Komaiko. This was ensemble work at its most transcendent — not just a stage picture, but one bursting with life. 

Calvin Wilson, STL Today / Touhill Center for the Performing Arts

Dance for Life - Raising Funds & Awareness for HIV/AIDS Care [FLASH MOB VIDEO]

By: Anthony Guerrero - Producer, Dance for Life Chicago

Dance for Life reaches its 22^nd year and has become the Midwest's largest dance performance-based fundraiser. It allows the Chicago professional dance community the opportunity to play a proactive role in the fight against HIV/AIDS.  The mission is to raise funds and awareness for HIV/AIDS care, education and prevention.

In the summer of 1992, Dance for Life premiered at the Organic Theatre, selling out 400 seats weeks in advance and raising $18,001 for the AIDS Foundation of Chicago.  The following years, the event moved to the Athenaeum Theatre, the Skyline Stage at Navy Pier and the beautiful Harris Theater selling out each year weeks in advance.  Dance for Life is proud to be housed at the Auditorium Theatre of Roosevelt University for a third year where the audiences for this one night event have exceeded 2,000 guests.

This year Dance for Life is raising funds for AIDS Foundation of Chicago, Chicago House and The Dancers’ Fund.  The Dancers' Fund originated in 1994 and was organized by DFL board member, Harriet Ross.  It provides small, personal-assistance grants to members of the Chicago area's professional dance community living with a life threatening disease.  This includes dancers, choreographers, administrators and all those working in professional dance.  The fund will offer assistance in, but not limited to, the following areas: rent, utilities, insurance, medication and travel.

This year, DFL presents pieces from DanceWorks Chicago, Giordano Dance Chicago, Hubbard Street Dance Chicago, River North Dance Chicago and Thodos Dance Chicago.  In addition to these amazing companies, there will be a performance of Le Corsaire Pas de Deux by Independent Artists, Abigail Simon and Mauro Villanueva.  And the evening would not be complete without the two World Premiere Finale pieces choreographed by Harrison McEldowney & Jeremy Plummer closing Act 1 and Randy Duncan closing the night.

Be prepared for an evening of dance like no other with a little something for everyone.  This is the only place you will find all of these talented dancers working together in support of each other, their community and those living with HIV/AIDS as they dance for life.

BUY TICKETS ONLINE

Death Boogie Twitter Poetry Contest

Enter to win a pair of FREE tickets to see Death Boogie: A Hip Hop Poetry Musical at the Auditorium Theatre of Roosevelt University on September 5-7, 2013.

To enter on Twitter, craft a short poem (no longer than one tweet) about “courage” and tag @AuditoriumChgo. Be creative and enter multiple times for more chances to win. One winner will be chosen on September 2.

Death Boogie, the 2012 Edinburgh Fringe Festival winner of TWO Musical Theatre Matters awards for BEST New Music and Best Innovation in Musical Theatre, is a multimedia Hip Hop Poetry Musical that uses projected illustrations and live music to follow the fictional story of Victor Spartan, a blue collar worker turned revolutionist.

Written and performed by Actor/Poet Darian Dauchan. Directed by Jennifer McGrath.



NO PURCHASE OR PAYMENT NECESSARY TO ENTER OR WIN A PRIZE.
MUST BE 18 YEARS OF AGE. PRIZES ARE SUBJECT TO AVAILABILITY AND MAY BE SUBSTITUTED.
WINNER WILL BE NOTIFIED VIA TWITTER. FAILURE TO RESPOND AFTER 48 HOURS OF NOTIFICATION MAY LEAD TO THE FORFEIT OF PRIZE.
VOID WHERE PROHIBITED.

Beyond the Gold Curtain: Show Off the Stage [VIDEO]

We are thrilled to launch our brand new web series "Beyond the Gold Curtain." In BTGC, we'll give you glimpses of the Auditorium Theatre in Chicago that the audience never gets to see. Journey with us on stage, up in the grid, above the arches, and more! In this first episode, we'll put you right where the performers stand as we "Show off the Stage."

   

The Musical Inspiration for Havana Blue

By Orbert Davis, Chicago Jazz Philharmonic

Photo by Kent Richmond

Creating Havana Blue was a process unlike any other in my life as a musician and composer. Starting with the exploratory trip to Cuba, it was a process of discovery and inspiration, on both a personal and professional level.

 I set out on the trip to Cuba with several goals.  I wanted to explore my African roots through the Cuban culture, where the African heritage is prominent. In my mind, I wanted to “become Cuban” through immersion in the culture and music. I was curious to see where my collaborations with authentic Cuban music would take me as an artist. It was an odyssey of musical self-discovery.

Also, I have always had an interest in tracing the development of African music in the United States and other countries.  I once traveled to Brazil, for example, to see how the African influence shaped that musical tradition, and I was interested in doing the same thing in Cuba.

Photo by Kent Richmond

What I found in Cuba was a wealth of musical expression, and a real passion for learning and sharing.  There’s such a strong connection between American jazz and Cuba that dates from the 1940’s and exists to this day. The local musicians were so excited to play with an American musician. They were especially excited when they heard I was from Chicago.

The musicianship there is of the highest order. I bought CD’s everywhere I could. I was so amazed at the creativity and the talent of the local artists. And what’s more amazing is that there are no jazz schools there, so that the artists have to pick it up on their own.

Wherever I went, I took my horm with me, and the musicians would always welcome me to play with them. My goal was to absorb what was happening in the moment and improvise based on the environment I was in and what was happening around me. I learned something new with every encounter I had, whether it was the house band in the hotel, or a street musician, or the classically-trained performers in the clubs.

I also found out something about my ancestral roots.  One of the percussionists, who could trace his own ancestors back to their village in Africa, told me that I was of Nigerian descent. He knew this from the way I looked, but more importantly by how comfortable I was with polyrhythms. It had nothing to do with my training as a professional musician, he said. It was something innate that can’t be taught.

I created the score for Havana Blue as a series of musical portraits of the people and the places I encountered. I did not want to recreate the music but rather my interpretations of the Cuba I found.  I tried to capture the sense of a people proud of their traditions, intent on honoring the old but eager to embrace the new and move forward. I am excited to bring this project home and share it with the people of Chicago.   

-------

HAVANA BLUE: River North Dance Chicago with Orbert Davis' Chicago Jazz Philharmonic

Presented by BMO Harris and Co-commissioned by the Auditorium Theatre

Venue: Auditorium Theatre
Dates: Saturday, April 13, 2013
Times: 8:00 pm
Price: $76-$32

In a momentous collaboration, the Artistic Directors of River North Dance Chicago and Chicago Jazz Philharmonic, Frank Chaves and Orbert Davis, explore their shared Cuban experiences for a vibrant World Premiere of original live music and dance, bringing the culture’s rich history to life in a contemporary way. Co-commissioned by the Auditorium Theatre.

Box Office: 50 E. Congress Pkwy. | Phone: 800.982.ARTS (2787) | Groups of 10+ 312.341.2357

Eisenhower Dance Ensemble, by Laurie Eisenhower

Eisenhower Dance Ensemble has performed in Chicago a few times, but this is our first production presented at the Auditorium Theatre....and, of course, we are thrilled to be presented in such a fabulous theatre! The first half of our program will consist of three dances from our current repertory, including a fabulous premiere by Chicago choreographer Ron de Jesus. The second half of the program will be our highly successful Motown in Motion production. Motown is a project that began over ten years ago. As a Detroit-based dance company, I was trying to come up with a project that would celebrate Michigan and the Detroit community. Saluting the glory days of Motown music seemed like the perfect idea. 

We created the Motown production by commissioning nationally known choreographers to set works on the company, including Bill DeYoung, Ginger Thatcher, Gregory Patterson, Lindsay Thomas, Stephanie Pizzo, and Chicago's own Joel Hall. Our goal was not to imitate the original Motown dances, but to use those dances and the music as inspiration for new work. We now have over twenty Motown dances in our repertory and have selected ten to perform in Chicago. This version includes dances to a wonderful array of Motown hits by artists such as The Temptations, Marvin Gaye, Smokey Robinson, Stevie Wonder and Michael Jackson. The end result is super fun—the kind of show that has you dancing and moving in your seats. We can't wait to share our work with Chicago! 

Cheers, Laurie Eisenhower

Ailey Opening Night: Honoring the Ancestors

By Sabrina L. Miller, Ailey Aficionado, friend of an Ailey Ambassador

I’m lucky—I’ve been going to see Alvin Ailey AmericanDance Theater since I was a kid.

My mother was a huge modern dance fan who was unrepentant in dragging me –willingly—all over the city to see every local and national dance company she loved—Joseph Holmes, Darlene Blackburn, Muntu, Martha Graham, Joffrey, among others, and, of course, Alvin Ailey. Sometimes my dad or my sister would join us. But the deep love for the dance—bordering obsession, probably—was something very special that my Mother and I shared. So, I’m lucky. My love for Ailey was developed early.

I’ve carried this love for Ailey and passed it on to many others everywhere I’ve lived in the country—and the world. I lived in Florida for a decade, spread between Tampa Bay and Miami, and I never, ever missed Ailey’s stops there, and always made sure I took others who had not yet experienced the beauty and the genius. Often, I’d attend every performance—or I’d attend as many performances as my budget would accommodate.

I haven’t missed “Ailey Week” at the Auditorium Theatre...well, ever. Certainly not in the last 13 years. I’ll never forget Ailey Week in 2000 because my grandmother—my mother’s mother—died the day before opening night. Mom, Dad and I already had tickets so we went. By the time “Fix Me, Jesus” was being performed in “Revelations,” my mother and I had a moment where we looked at each other, tears streaming down both of our faces, and we smiled. Without speaking a word, we both felt the spirit of my grandmother with us, and despite our sorrow we felt comfort in her transition, as she had now become one of the ancestors Alvin Ailey was thinking of when he created this great work.

It is a poignant, indelibly etched memory, because it was the last Ailey performance I would share with my mother—she died unexpectedly a month later.

When Ailey week rolled around in 2001, I was ambivalent. I didn’t know if I was emotionally ready to experience Ailey without the woman who gave me life—the very person who gave life to my lifelong love for the dance and for Ailey itself. But I soldiered through. And at the end of Revelations, with tears streaming down my face, I blew kisses to the air, thinking of my mother, my grandmother, Mr. Ailey – all ancestors now, and part of the continuum and narrative of Black life that he envisioned...

Ailey Week, for me, is never just about me. It’s about celebrating the ancestors. It’s about celebrating my mother. I take great comfort and joy in what has become a ritual for me. That the 2013 series has been expanded to two weeks is phenomenal and fitting—Chicago loves Ailey and has always supported the Auditorium Theatre. It is a perfect marriage, and the commitment and enthusiasm of Auditorium Theatre Executive Director Brett Batterson to Ailey Week is contagious. One cannot help but to heed his call to spread the word.

Opening night was spectacular, of course, featuring the relatively new (2012) “Another Night”, choreographed by Kyle Abraham. Electric in its movement and colors, and classic with the accompaniment of Dizzy Gillespie’s “A Night in Tunisia” performed by Art Blakey and The Jazz Messengers. The masterful paean to the body “Petite Mort” followed, and Ailey Artistic Director Robert Battle’s intimate “Strange Humors” came next. But the star of the show, of course, is the triumphant “Revelations”—for which we saw a mix of beloved veterans (Linda Celeste Sims) as well as newcomers to the company.

I’m not a formal “Ailey Ambassador” but I feel like one because I never miss an opportunity through good, old word-of-mouth or, now, using social media, to spread the word. My only quibble with this year’s series is that I wish they were performing MORE Ailey-choreographed pieces. I’m incredibly disappointed that “Cry” is not in the lineup this year, and that the only Ailey-choreographed piece outside of “Revelations” is “Pas de Duke.” I certainly appreciate all the efforts to stay current while honoring the classics, but veteran Ailey fans and new ones alike would benefit from seeing that Alvin Ailey’s choreographic genius extends well beyond “Revelations.”

Nonetheless, I look forward to going back several more times before Ailey leaves next Sunday. Mom wouldn’t want it any other way.

Click HERE for tickets and information on Alvin Ailey American Dance Theater's 2013 run at the Auditorium Theatre.

Returning to the Auditorium, by Ailey Dancer Sarah Daley

By Sarah Daley, Alvin Ailey American Dance Theater 

Alvin Ailey American Dance Theater's
Sarah Daley. Photo be Eduardo Patino.

I've been dancing since I was about 5 years old. I was a an active kid, always underfoot, so my mom thought dance class would be a good place to put me. I've stuck with it ever since.

This is my second season with Ailey. Previously, I was in Ailey II for two years and am a graduate of the Ailey/Fordham BFA program. 

Being with Ailey has given me the opportunity to tour to and perform in some really amazing places I might not have been able to see on my own. My favorites so far have to be Copenhagen, Denmark;  Paris, France; and Tel Aviv, Israel. All three cities are beautiful in such different ways. What they all have that appeal to me are the rich histories they carry that you can see simply by walking around and looking at the architecture. Being able to visit places I've only read about and then stumbling on a hidden gem only the locals know of can happen all in the span of a day. The people I would meet on a daily basis were friendly, warm and eager to share knowledge of their culture to anyone who took the time to listen.  

The Auditorium Theatre holds a very special place in my heart. Growing up in the suburbs of Chicago and passionate about dance, I would always have to make the trip to the city to get my fix of professional performances. In the “nosebleeds” of this theater is where I first experienced performances by the Joffery Ballet, The Bolshoi, The Eifman Ballet, and Alvin Ailey American Dance Theater.  From the first time I sat in the audience I was hooked. Anytime one of these companies came to Chicago it was an event for my dance friends and me. My mother and teacher would coordinate a trip for our studio, we all dressed in our best clothes (usually adorned with sparkles), chipped in a few dollars weeks before and rented a limo to take us to see the ballet! I remember my friends and I saving money leading up to the trip so at intermission we could buy some soda and candy at concessions and stand around discussing what we had just witnessed. It was all very sophisticated.

Alvin Ailey American Dance Theater's Sarah Daley,
Megan Jakel and Rachael McLaren in Ohad Naharin's Minus 16.
Photo by Paul Kolnik

After the performances we would make a mad dash to the alley behind the theater to catch the dancers on their way out and beg with our best puppy dog eyes for their signatures. I still have a program from an Ailey performance in 2002 signed by some of the people I now call coworkers and friends. That still amazes me.

Having the chance to return to this theater, as a company member now, is surreal to me. I happened to be off on our opening night this year and was able to watch the performance from the house, something I haven't done since high school. The weight of what that meant didn't escape me. Coming back to the theater that helped keep my love of concert dance alive, and beginning  a new relationship with it is very special. Chicago has such love for Ailey and I'm lucky that I get to be a part this annual reunion. 

Click HERE for tickets and information on Alvin Ailey American Dance Theater's 2013 run at the Auditorium Theatre.

From Before, Pas De Duke, Home, Revelations - Alvin Ailey Program B [video]

Alvin Ailey American Dance Theater visits the Auditorium Theatre for 10 performances, March 8-17, 2013. The company will bring several programs, each featuring different pieces from their repertoire.  Learn a bit about the pieces in Program B below!

For tickets and information, click HERE.

Alvin Ailey American Dance Theater: Chicago Program B

From Before**, Pas de Duke/Home/Revelations
Saturday, March 9 at 2:00 pm and 8:00 pm
Friday, March 15 at 7:30 pm
** Company Premiere

From Before (Company Premiere): Choreographed byGarth Fagan
Mr. Fagan said of his work: “From Before was looking back at my origins in the West Indies and seeing how I could take away all the trimmings and the costumes of African or Caribbean dance and strip it right down to the bare bones.”  He attributed its popularity with audiences all across the world to “the fluidity of Caribbean dance, the polyrhythms of African, the precision of ballet and the strength and weight of modern dance.”

Pas de Duke: Choreographed by Alvin Ailey
Originally created as a showcase for Judith Jamison and Mikhail Baryshnikov, Pas de Duke is Alvin Ailey’s modern-dance translation of a classical pas de deux, celebrating the musical genius of Duke Ellington. Ailey’s choreography brilliantly captures the exuberance of the dancers’ star qualities and techniques as the duo mirror each other toe-to-toe and line-for-line in this playful, jazzy dance. The New York Times praised the work as “one of those special dances that lives in new ways with each new set of performers.”

Home: Choreographed by Rennie Harris
Home, returning to Auditorium Theatre again for the second year, is choreographed by bold hip-hop choreographer Rennie Harris and is inspired by the stories of people living with or affected by HIV. Drawing upon poems and images submitted in 2011 to the Fight HIV Your Way contest, an initiative of Bristol-Myers Squibb, Harris created a compelling work that conveys both the chilling isolation and uplifting sense of community many experience.

Revelations: Choreographed by Alvin Ailey
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.”

A Parisian Menu to Follow Moulin Rouge - The Ballet

Written by: George L. Jewell, Founder & President of Jewell Events Catering

The Auditorium Theatre is without a doubt, one of my favorite special event venues in Chicago! The elegance and history that emanates from its walls set the perfect ambiance for events of all kinds and sizes. The acoustics in the theater are world-renowned and provide a perfect space for musical engagements and it’s always fun to plan menus around the shows! For instance, I would have loved this Parisian menu last weekend during performances of Moulin Rouge – The Ballet! A theme appropriate bistro buffet menu would include some of these delicious French items:

Hors d’Oeuvres Station Serving

Duck Confit with Cranberry Black Pepper Chutney 
Resting on a Petite Sweet Potato Gaufrette

Petite Pastry Bouche 
With Creamed Spinach Diced Onion, Garlic, and Emmental Cheese

Petite Rounds of Foie Gras with Port Glaze 
Resting on a Toasted Brioche Round and Topped with Fleur de sel

Small Plate Action Stations

Cailles au Jus de Grenade

Deboned Quail Marinated in Pomegranate Juice, Tarragon and Shallots

Stuffed with Sweet Red Cabbage and Topped with a Pomegranate Jus

Served with a Petite Salad of Mixed Greens

Grapefruit Segments, Pomegranate Seeds and Pine Nuts in Light Champagne Vinaigrette

Filet de Boeuf au Poivre

Pepper Crusted Medallions of Beef Tenderloin

With Vidalia Onion Chutney to the Side

Winter Vegetable Gallette with Chevre Cheese

Dessert Station

Trio de Sucreries Françaises

Chocolate MilleFeuille with Raspberries

Individual Orange Crème Brulee

Pecan Praline on French Vanilla Mousse

In order for Jewell Events Catering to continue to be industry leaders, we must adapt to evolving trends and have the ability to customize a menu such as this, while always making sure our food is exquisite and our service is impeccable. We have a great, creative team that is constantly contributing new ideas and making suggestions, which has been key to our success. However, we never lose sight of the classic culinary standards that guide our kitchen. Count on Jewell to handle your catering needs and special events at Auditorium Theatre!

George L. Jewell

www.georgejewell.com | 312.829.3663 | facebook.com/jewelleventscatering |

Jr. Board Devil's Ball Photos!

The Devil’s Ball: A Night in Old Chicago was the inaugural gala event hosted by the Auditorium Theatre’s Junior Board, commemorating old Chicago in all its excess and splendor. On 11/11/11, guests enjoyed a silent auction, food, libations and music in the elegant lobby of the National Historic Landmark, Auditorium Theatre, as well as the opportunity to take historic and backstage tours of the theatre. As you can tell from our event photos below, we had a wonderful evening celebrating a time toward the end of the nineteenth century when Chicago, as well as the Auditorium, was coming into its own on the world stage while proudly embracing its industrial clout and evolving cultural prominence.

Auditorium Featured in WTTW 's Interactive City Tour

The Auditorium Theatre is featured in WTTW's "Explore the Loop" online tour! Check out this unique online experience for video, photos, and info on the Auditorium Theatre and many other landmarks and attractions in the Loop.

"What makes a city, a city? Is it the buildings? The people? Is it what happened here 100 years ago — or what is happening right now?

To find out, we invite you to join us in an urban adventure with WTTW host, writer, and producer Geoffrey Baer’s new multimedia tour through Chicago’s downtown Loop. Explore this site. Listen to the audio stories of the everyday people who inhabit the Loop. Take the tour yourself, with our audio download. Watch the show wherever you are.

We know you’ll find one answer for sure. Chicago’s Loop is one of the great American city spaces. Discover its history, architecture, excitement — and most of all, stories." - WTTW

Preserving Our Past…Building Our Future [photos]

A big "thank you" to all of you that attended the Auditorium Theatre 2011 Gala: Preserving Our Past…Building Our Future. Your generosity is greatly appreciated!

Every year, we look toward our Gala with anticipation and excitement. This year, however, we were especially thrilled to honor Harry Weese the famed Chicago architect that volunteered his services to restoring the Auditorium Theatre back to its former elegance in the 1960s.

We also saluted Sumner Sollitt, who worked alongside Mr. Weese to oversee the entire project as well as his beloved wife Brenda, who dedicated endless time and support to the Theatre for over 30 years. Their contributions have been instrumental to the Auditorium’s success, and their efforts will forever be ingrained in the future of our treasured landmark.

Touring Chicago in Blues Brothers Style -

The Blues Brothers trademark is owned by Daniel Aykroyd and Judith Belushi Pisano.

David Sedaris Pre-Sale Offer - Buy Now!

With sardonic wit and incisive social critiques, David Sedaris has become one of America’s pre-eminent humor writers. The great skill with which he slices through cultural euphemisms and political correctness proves that Sedaris is a master of satire and one of the most observant writers addressing the human condition today.


Sedaris will visit Chicago for ONE NIGHT ONLY, featuring all-new readings of his work and a book signing.


Use code ESSAY when ordering.

Intern Intros - Meet Gina!

Throughout the summer, we will be introducing you to our fabulous interns. Enjoy the first in this series of posts.

I’m Gina, the first marketing intern for the Auditorium Theatre. I have just completed my first week and I must say it is a great experience. Many times when you think “intern” you think of what they show in the movies, someone they make run all over the place doing pointless things, like coffee runs for the staff. I am happy and thankful to say that I do not even know who drinks coffee here, so needless to say I am not doing any coffee runs.

I am currently a graduate student at Purdue Calumet studying Communication. I studied Communication and Advertising in my undergraduate at Eastern Illinois University. I am very happy to be working in the city of Chicago because my hope is to move here sometime in 2012. I absolutely love the city and all it has to offer and I am happy to say that this internship is helping me enjoy the city even more, especially when I was able to see The Beach Boys concert with John Stamos! It was great to see “Uncle Jessie,” and my sister and I had a great time.

For some time now I have wanted to explore every aspect of the communication field; when I received the email that I was accepted as an intern here I was ecstatic. I have always loved going to see performances and I know this is a great fit for me. I am hoping to learn as much as possible. So far I can say that the people are great and make me laugh on a daily basis! I am very excited to share my experience when I write my second blog near the end of the internship.