THE AUDITORIUM THEATRE OF ROOSEVELT UNIVERSITY ANNOUNCES 2012 - 2013 Season

World-Class Dance Takes Center Stage with an Eclectic Lineup Including Ballet Folklórico de México, Royal Winnipeg Ballet, River North Dance Chicago with Chicago Jazz Philharmonic,

Alvin Ailey American Dance Theater, Eisenhower Dance Ensemble and the

Eifman Ballet of St. Petersburg

Music Fills the Auditorium’s Legendary Theatre with Susan Werner, Michael Feinstein and Jeff Lindberg’s Chicago Jazz Orchestra and the Annual Production of “Too Hot to Handel: The Jazz Gospel Messiah”

CHICAGO, IL — Executive Director of The Auditorium Theatre of Roosevelt University (ATRU) Brett Batterson announces the Auditorium Theatre’s 2012-2013 season featuring six world-class dance productions, an annual favorite and musical treats for Chicago audiences. In keeping with its commitment to showcase and celebrate the diverse talents and cultural treasures of the local, regional and international creative landscape, the Auditorium will present a treasure trove of spectacular performances all season long. Subscription packages and group tickets go on sale May 1, 2012 by calling (312) 431-2357. Visit www.auditoriumtheatre.org for more information.

“It is a privilege to host such diverse, exuberant programming for the Auditorium’s 2012-2013 season,” said Batterson. “To have internationally renowned companies sharing the stage with Chicago’s own musical and choreographic talents is an honor. I am thrilled to welcome old friends back to the theatre while introducing Chicago audiences to new ones.”

The Auditorium Theatre’s 2012-2013 season kicks off September 15 with ATRU’s popular “On Stage With…” cabaret series featuring an up-close-and-personal performance by renowned singer-songwriter Susan Werner. Up next, legendary American singer, pianist, and music revivalist Michael Feinstein unites with Jeff Lindberg’s Chicago Jazz Orchestra on September 29 showcasing the most beloved tunes from the American Songbook. Ballet Folklórico de México de Amalia Hernández takes the stage Oct. 6 - 7 bringing Mexican culture to the Auditorium stage and introducing audiences to the magic of traditional Mexican folk music. The Royal Winnipeg Ballet brings the Parisian Belle Époque to the Auditorium with their production of “Moulin Rouge,” November 2 – 4, featuring high-kicking choreography and a passionate story of love, aspiration and heartbreak.

“Too Hot to Handel: The Jazz-Gospel Messiah,” the joyful, exuberant and all-American version of Handel’s beloved oratorio, returns to the Auditorium for the eighth year in celebration of the Rev. Dr. Martin Luther King Jr.’s birthday, with performances Jan. 19 - 20, 2013. The season continues with a commissioned co-production between River North Dance Chicago, Chicago Jazz Philharmonic and the Auditorium Theatre of Roosevelt University presenting the world-premiere performance of “The Cuban Project.” This enthralling piece explores the origins and evolution of Cuban jazz and music from the Afro-Cuban Diaspora on April 13.

Due to the overwhelming popularity and high demand for “America’s cultural ambassador to the world,” Alvin Ailey American Dance Theater will perform for two consecutive weeks for the first time in Chicago. With 10 full-length performances (March 8 – 17) Alvin Ailey celebrates the uniqueness of the African-American cultural experience and the preservation and enrichment of American modern dance through the leadership of Artistic Director Robert Battle. Eisenhower Dance Ensemble will take audiences on a tour through decades of Motown classics with “Motown in Motion,” a fast and fun production of music and dance while also offering audiences a taste of their most celebrated company pieces. Capping off the eclectic season is the world-renowned Eifman Ballet of St. Petersburg who brings their production, “Rodin” to the stage May 17 – 19. This new full-length ballet, based on the life of sculptor Auguste Rodin, tells the tale of artistic inspiration and the terrible price of genius.

Auditorium Theatre’S 2012-2013 Season
All titles, artists and dates are subject to change

“ON STAGE WITH…” SUSAN WERNER
Saturday, Sept. 15 at 8 p.m.

This intimate concert offers the audience the opportunity to sit on the stage of the Auditorium Theatre while enjoying songs spanning singer-songwriter Susan Werner’s career. Her soulful honesty, wit and rowdiness will be on display in this up-close-and-personal cabaret performance.

MICHAEL FEINSTEIN with JEFF LINDBERG’S CHICAGO JAZZ ORCHESTRA
Saturday, September 29 at 8 p.m.

Singer, pianist and musical revivalist Michael Feinstein, one of the most legendary American performers of our time, will join Jeff Lindberg’s Chicago Jazz Orchestra (CJO), the oldest professional jazz orchestra in constant operation, to honor the Great American Songbook. Performing classic songs that have delighted audiences throughout the decades, these two musical sensations will guide audiences on a journey through some of the most beloved music of our time.

BALLET FOLKÓRICO DE MÉXICO DE AMALIA HERNÁNDEZ
Saturday, October 6 at 7:30 p.m.
Sunday October 7 at 3 p.m.

From the heart of Mexico City, Ballet Folklórico de México de Amalia Hernández has presented dances that are reflective of the culture in Mexico for the past five decades. Founded in 1952 by Amalia Hernández, the ballet has historically celebrated traditional musical pieces from various regions and folk music genres native to Mexico. Many of the ensemble's works depict the traditions of indigenous Meso-American culture and delight audiences with their authentic, spirited movement.

ROYAL WINNIPEG BALLET performing “MOULIN ROUGE”
Friday, November 2 at 7:30 p.m.
Saturday, November 3 at 8 p.m.
Sunday, November 4 at 2 p.m.

The Royal Winnipeg Ballet is Canada’s oldest ballet company and the longest continuously operating ballet company in all of North America. Known for its versatility, technical excellence and a captivating style, the company’s interpretation of “Moulin Rouge” is no exception. Featuring a French music score, high-kicking choreography and a passionate story of love, aspiration and heartbreak, the ballet tells the tale of Matthew and Nathalie as they tempt fate while they seek love at the infamous cabaret – The Moulin Rouge.

The Auditorium Theatre of Roosevelt University will host their annual Gala in conjunction with Royal Winnipeg Ballet’s “Moulin Rouge” with a reception/dinner following the Sunday performance at the Palmer House Hilton’s Red Lacquer Room. Tickets and tables start at $500/ $5000 - $1000/$10,000.

“TOO HOT TO HANDEL: THE JAZZ GOSPEL MESSIAH”
Saturday, January 19, 2013 at 7:30 p.m.
Sunday, January 20 at 3 p.m.
*One hour Student Matinee at 11 a.m. Friday, January 18

Returning for its eighth consecutive year, ATRU celebrates the life and legacy of Rev. Dr. Martin Luther King Jr. with a joyful, exuberant, all-American version of George Frideric Handel’s beloved oratorio. With nearly 200 performers on stage, this soulful jazz-gospel interpretation features a cast of Chicago-based soloists: tenor Rodrick Dixon (of Cook, Dixon and Young), soprano Alfreda Burke and alto Karen Marie Richardson, plus pianist Alvin Waddles, bassist Marion Hayden, the 150 voices of the city-wide Too Hot Choir (under the direction of Old St. Pat’s Music Director Bill Fraher), a 50-piece symphony orchestra and a jazz ensemble conducted by Suzanne Mallare Acton.

ALVIN AILEY AMERICAN DANCE THEATER
Friday, March 8 at 7:30 p.m.
Saturday, March 9 at 2 p.m. and 8 p.m.
Sunday, March 10 at 3 p.m.
Wednesday, March 13 at 7:30 p.m.
Thursday, March 14 at 7:30 p.m.
Friday, March 15 at 7:30 p.m.
Saturday, March 16 at 2 p.m. and 8 p.m.
Sunday, March 17 at 3 p.m.
*One hour Student Matinees on Thursday, March 14 and Friday, March 15 at 11 a.m.

Alvin Ailey American Dance Theater, led by Artistic Director Robert Battle, blends ballet, modern dance, jazz, and African dance techniques. Hailed as America’s cultural ambassador to the world and “possibly the most successful modern dance company on the planet” by The New York Times, Alvin Ailey American Dance Theater performs new productions plus audience favorites for a spectacular 10 full-length performances.

RIVER NORTH DANCE CHICAGO with CHICAGO JAZZ PHILHARMONIC presents
“THE CUBAN PROJECT” (working title)
Saturday, April 13 at 8 p.m.

Fulfilling a long-time dream, Artistic Director Frank Chaves of River North Dance Chicago (RNDC) will premiere a major new work that explores the origins and evolution of Cuban jazz and music of the Afro-Cuban Diaspora. The piece will marry jazz dance and music performed live on-stage with choreography by Chaves and an original score composed by Orbert Davis, Founder and Artistic Director of the esteemed Chicago Jazz Philharmonic (CJP). This commissioned co-production between RNDC, CJP and ATRU will have its world-premiere on the Auditorium Stage for one-night only.

EISENHOWER DANCE ENSEMBLE'S "MOTOWN IN MOTION"
Sunday, April 14 at 3 p.m.

Under the artistic leadership of Laurie Eisenhower, Eisenhower Dance Ensemble, one of the Midwest’s premier contemporary dance companies, has been dedicated to the performance of a diverse range of contemporary dance works. Their production of “Motown in Motion” will celebrate decades of Motown classics in a fast and fun production of music and dance. This visual salute to the tunes that rocked the Motor City and made Motown Records famous includes dance vignettes performed by Eisenhower Dance Ensemble to recordings from top Motown artists, including the Temptations, Marvin Gaye, Gladys Knight, Smokey Robinson, Michael Jackson, the Supremes, and Stevie Wonder, among others. The company will also bring some of the most celebrated pieces from their diverse reperatory to the Auditorium stage.

EIFMAN BALLET OF ST. PETERSBURG’S “RODIN”
Friday, May 17 at 7:30 p.m.
Saturday, May 18 at 8 p.m.
Sunday, May 19 at 3 p.m.

Visionary choreographer Boris Eifman’s full-length ballets combine dramatic stagecraft, exquisite technique and powerful dramatic interpretation. His newest ballet, “Rodin” is no exception. Based on the life of French sculptor Auguste Rodin (1840–1917) and his turbulent relationship with his mistress and muse, Camille Claudel, this epic tale is set to music by Saint-Saëns, Massenet and Ravel, and tells the tale of artistic inspiration and the terrible price of genius.

Subscription and ticket prices for each performance will be announced at a future date. For more information, visit auditoriumtheatre.org.

Your Daily Dose of Shakespeare and Ballet

By Katie Brown, Sales Associate

“The stage is not merely the meeting place of all the arts, but is also the return of art to life” – Oscar Wilde

Art is not just for those who love to act, sing, or dance. It is meant for everyone to learn from and enjoy. Just like the TV series we ritually set our DVR’s to, ballets and plays are relevant to today’s life situations and serve as tools to educate ourselves on human nature.

Unfortunately, it’s commonly thought that ballets are just for dance lovers and Shakespeare is only for die hard thespians. How are we supposed to grow as artists if we only focus on one form? How are we supposed to grow as individuals if we completely ignore art and what each medium has to offer?

Chicago has a fantastic opportunity this spring to experience the grace and technique of ballet with the emotions and drama we know and love about Shakespeare. The American Ballet Theatre will be performing Giselle March 22-25 at the Auditorium Theatre. Of course, you are all thinking “this girl is obsessed with dance, so of course she’s going to suggest I go see a ballet.” To be quite honest, despite my 19 years of dance training, there is nothing more thrilling to me than to see one of Shakespeare’s plays.

Shakespeare’s plays live on today, not just on the main stage and through ballets, but through our TV screens. Most of these exciting Shakespearian themes have been used as parodies in your favorite TV shows. For example, the love affair between Hamlet and Ophelia is a common unrequited love story we’ve seen many times. Even Claudius’ betrayal to his family is another theme that our favorite dramas draw upon to create tension and suspense. And the idea of seeking forgiveness at the end of a tragic event is very popular among our addictive police, hero, and action TV series.

Giselle carries these same features. It is the story of forbidden love, tragedy, and forgiveness. This story, originally written by French writer Theophile Gautier, truly questions the meaning and importance of love and expresses themes relevant to today’s society. The first act shows the audience two young lovers, whose relationship is forbidden. Giselle is madly in love with a young man named Albrecht. Through many secret meetings and intimate moments, Giselle couldn’t be happier that she’s found the love of her life. However, Giselle discovers Albrecht has many of his own secrets: he is a prince and he is engaged to another woman. Broken hearted, we (the audience) are left breathless as we watch Giselle slip into madness and die. This death scene is one of the most famous scenes in ballet, not only because Giselle’s character is similar to that of the mad Ophelia, but because it is the perfect example of a dancer fully embracing her character to convey a specific emotion to the audience.

In the second act, we see the hopeless Giselle coping with her broken heart in the afterlife. Despite how much Prince Albrecht hurt her, Giselle finds it in her heart and soul to forgive him. She saves him from an exhausting and tormenting death, proving to the audience that love conquers all.

These ideas of love, loss, and forgiveness are aspects we see in everyday life. So, why is it less common to make an outing to see them in a ballet?

As a sales associate, some of the responses I have received are, “I don’t understand ballet” or “I don’t know the story.” With plays, audience members are blessed to have verbal dialogue as their guide to understanding what is happening on stage. It’s a common belief that at a ballet the audience members, who are unfamiliar with the plot, are forced to rely on the plot summary in their playbill.

Like actors, dancers are not just bringing the art to the audience; they bring life to the story. Dancers are actors. Through movement, facial expressions, and gestures, the dancers are telling a story just like the actors, and it’s a story we can all relate to: falling in love, losing someone we care about, and finding in our hearts the ability to forgive regardless of how much we were hurt in the past. The only difference between a ballet and a play is the mode of communication. Actors speak and dancers move.

Audience members will only gain by attending a ballet. Your experiences and insights will be the same as attending a play, but you will be opened up to a new form of art, growing not just as an audience member, but as an artistic individual. And no, you don’t need 10 years of performance experience under your belt to be involved in the arts community.

Art is a necessary part of living. I encourage you to take the time and see Giselle March 22-25. I want you to allow yourself to relish in each movement. Enwrap yourself in every smile, turn, leap, tear, and gesture. Giselle is the best way to experience the elements of dance and theatre in one performance, powerfully showing the meaning of love. Allow yourself to bring art to life.

For subscriptions or groups of 10 plus, please call 312.431.2357.

For single tickets, visit ticketmaster.com/auditorium

Ohad Naharin and his edgy, honest and stimulating choreography

By Melinda Wilson

Anyone who has seen a dance company perform knows that it can involve a lot of technical and specific work that is unique to that company. While each company may vary to a certain degree, there is one company that stirs the soul like no other - Batsheva Dance Company from Israel. Batsheva is known for its eclectic, thought-provoking choreography and movement. Ohad Naharin, Artistic Director since 1990, is one of the world’s most celebrated contemporary dance choreographers. His award-winning work has been presented around the world with companies including Nederlands Dans Theatre, Ballet Frankfurt, Lyon Opera Ballet, Compania Nacional de Danza (Spain) Culbert Ballet (Sweden) and Alvin Ailey American Dance Theatre (NY). Here in Chicago, Naharin’s choreography has been a staple at Hubbard Street Dance Company for many years.

The Auditorium Theatre of Roosevelt University will host Naharin’s Batsheva Dance Company on March 17 and 18, 2012. The incredibly edgy, honest and stimulating choreography of Naharin’s is always anticipated with eagerness as audiences explore the ideas put forth on the stage by his incredibly sensual dancers. Max, the first dance on the program showcases Naharin’s musical prowess. Using the pseudonym of Maxim Waratt, Narharin composed the music for Max in 2007. It was in that year that I saw the premiere of Max as part of International Dance Exposure in Tel-Aviv at his home theatre The Suzanne Dellal Centre for Dance and Theatre. This action-packed movement with both humor and heart made the world press sit up and take notice. For me, Max can be funny, at times somewhat provocative, and always exhilarating.

Naharin’s B/olero was seen only as a glimpse in Batsheva Dance Company’s DECCA Dance which was performed two years ago at The Auditorium Theatre of Roosevelt University. Like most of Naharin’s work, B/olero summons us into a more open and embracing world. The theatrical tone becomes enticing as the dancers move through identity, realization, sexuality and fortitude. The choreography and dancers alike are textural with great physical technical control and drama.

Both Max and B/olero captivates the audience by frequent changes in styles and focus. The result is relaxing and stimulating at the same time transforming the normally passive spectator into an active participant. That’s some power for you!

The company’s appeal along with the inspiring choreography is based in the unique manner in which the artists move. Batsheva executes movement with a specific flair that is reshaping and redefining the contemporary dance world. Gaga, an innovative movement language created by Naharin, looks for availability within movement and does this through an exploration of connections and sensations within the body. Through Gaga, Naharin has enriched his artistic vision not only by movement exploration, but also by how the company trains. Gaga is the primary training method used by the company, giving them a signature movement style which is not easily duplicated. Furthermore, Naharin has expanded this movement practice for both dancers and non-dancers around the world. Naharin has even shared Gaga with outreach programs for children, victims of war, and non-dancers who want to learn how to move their body.

One fact is undeniable: anyone who has even a passing interest in the arts should not miss this exciting Chicago performance by Batsheva Dance Company. Simply put, Batsheva is a delight to the eye and will excite the senses. This company is at the top of a mountain peak of artistic achievement and artistry.

Melinda Wilson:

Melinda Wilson holds a M.Ed. from DePaul University (Chicago) and an M.A. from the University of Illinois with additional course work at Northwestern Illinois University. She has trained at Lou Conte Dance Studios, The Dance Center of Columbia College, the Joel Hall Dance Center, Moming Dance Center, Pineapples (London), The Dance Works (London), Centre de Danse de Paris (Goube of the Paris Opera Ballet), Batsheva Dance Company (Tel-Aviv), and Centre de Danse du Marias (Paris). This will be Melinda's fifth consecutive year studying Naharin’s repertoire and GAGA in Israel.

For subscriptions or groups of 10 plus, please call 312.431.2357.

For single tickets, visit ticketmaster.com/auditorium

William Shatner’s One Man Show Beams Into Chicago

Captaining the Enterprise. Chasing bad guys in TJ Hooker. 10 million Priceline commercials. One man show on Broadway?!

Don’t adjust your television sets Trekkies – William Shatner’s One Man Show “Shatner’s World We Just Live In It” is coming to Chicago’s Auditorium Theatre On March 16^th after a successful Broadway run. We must admit we were a little surprised to see William Shatner still alive after “dying” in the infamous January Priceline commercial.

The two-hour show will take audiences on a voyage through Shatner’s life and career, from Shakespearean stage actor to internationally known icon and raconteur, known as much for his unique persona as for his expansive body of work on television and film. We got a better look at the man during “Shatner’s Raw Nerve,” the popular bio television show where we saw him have conversations with iconoclasts of our time. We must admit it was a side we hadn’t seen before and makes us excited for the possibilities in “Shatner’s World We Just Live In It”.

It turns out there are many sides to Shatner. For instance – did you know he has also been successful in another area - horse breeding? A dedicated breeder of American Quarter horses, he has had enormous success with the American Saddlebred, developing and riding world champions and has won numerous world championships in several events. He united his passions for horses and philanthropy with the Hollywood Charity Horse Show, benefitting L.A.-based childrens’ charities. We always wondered why there were extended horseback riding scenes in “Star Trek: Generations.”

While we don’t expect Shatner to come out on horseback like he did at his 2006 Comedy Central Roast, we are counting down the days until March 16^th.

For more information on “Shatner’s World We Just Live In It,” visit - http://www.shatnersworld.com/ and to purchase tickets click HERE.