The Pieces and The People of the MUSIC + MOVEMENT FESTIVAL SHOWCASE

After 10 original performances over three months, The Auditorium Theatre of Roosevelt University has selected six Chicago dance companies to perform on the landmark stage for the MUSIC + MOVEMENT SHOWCASE. Learn about the companies and the pieces they will be performing below!

MEXICAN DANCE ENSEMBLE

WITH LOS CONDENADOS HUASTECOS

En la huasteca

Choreography: Samuel Cortez

Music: Los Condenados Huastecos

Dancers

Carmen Gallardo, Nina Sandoval, Maira Jimenez, Mirella Borjon, Yesenia Alvarez, Beatriz Leyva, Maricela Gallegos, Liz Ledezma, Edgar Medrano, Gustavo Martinez, Eduardo Cortez, Anthony Ledezma, Ezequiel Flores, Rickey Ledezma, Angel Ledezma, Isidro Padilla, Nayeli Villagomez, David Carrillo, Teresa Perez, Betsy Corral, Blanca Acevedo, Natalia Cardenas, Hector Briseño, Jose Enrique Vazquez, and Edgar Hernandez

The Huapango is a product of a sentiment manifested by music chords, lyrics, and a wooden platform resonating soft heel clicking, which symbolizes the Huasteca culture. The Huapango arose during the colonial period’s Spanish-influenced dances and popular lyrics; yet, it retained aspects of the mestizo and indigenous sectors and identifies itself as a regional culture. Based on different traditions from this region, MDE premiers “En la huasteca,” a set of huapangos, that take us to this land of beautiful music and tradition.

Created for the MUSIC + MOVEMENT FESTIVAL and premiered by Mexican Dance Ensemble at the Auditorium Theatre’s Katten/Landau Studio on April 7, 2013.

CHICAGO HUMAN RHYTHM PROJECT’s BAM!

WITH THE GREG SPERO TRIO and TRESSA THOMAS

Push Past Break

Choreography: Michelle Dorrance

Music: “St. Louis Blues,” “Heartbreak Hotel,” “Anywhere I Can”

Composition: W.C. Handy, Mae Boren Axton, Tommy Durden, and Toshi Reagon

Music performed by: Greg Spero (Piano), Junius Paul (Bass),

Xavier Breaker (Drums) and Tressa Thomas (Vocalist)

Lighting: Joshua Paul Weckesser

Dancers

Heather Brown, Tristan Bruns, Kristi Burris, Zada Cheeks, and Starinah Dixon 

“Some of the great indigenous American art forms: the blues, tap dance, hip hop/house, have deeprooted rhythmic and vernacular connections. We find their origins and roots in the poorest, often most oppressed people and circumstances the country has known and yet these forms illustrate that devastation can be the foundation for dynamic joyful expression.

—Michelle Dorrance (Choreographer)

The creation of “Push Past Break” was supported by the Princess Grace Foundation and the MUSIC + MOVEMENT FESTIVAL, premiered by Chicago Human Rhythm Project at the Auditorium Theatre’s Katten/Landau Studio on April 4, 2013.

KUUMBA LYNX

WITH URBAN ASPIRATIONS

Welcome To The Salon/Barber Shop — Get Your Journal In! — I Got These Kids

Choreography: Christopher “Mad Dog” Thomas (Footwork and Hip Hop Dance Educator)

Musical Performance by: Urban Aspirations — Executive Director Marcus Burks, U.A. Ensemble Member Sam Trump, Winston Tyler, Everett Reid and Eric Williams

Original Compositions by: Winston Tyler

Co- Directors: Jacinda Bullie and Jaquanda Villegas

Assistant Choreography: Oshe Bates, Darius Parker, Davonte Williams, and Eddie Martin Jr.

KLAdult Ensemble

Jaquanda Villegas, Christopher Thomas, Jacinda Bullie, Keith Redmond, and Darius Parker

KLPerformance Ensemble Apprentices

Kieyana Itson, Oshe Bates, Sahara Burton, Tanya Smith, Jeremiah Perry, Jahleigh Bullie, Sejahari Villegas, Ariel Salgado, Karina Salgado, Stephany Sanchez, AshleyNaes de Venecia, Dwight Alaba, Marquis Hudson, Da’Shay Barlow, Tatiana Serrato, Mike Johnson, Alexis Pettis, Mike Jones, Artezia Hussan, and Marshan Hall

Created for the MUSIC + MOVEMENT FESTIVAL and premiered by Kuumba Lynx at the Auditorium Theatre’s Katten/Landau Studio on March 24, 2013.

THODOS DANCE CHICAGO

WITH AMANDA BATTERSON

Sentient

Choreography: Melissa Thodos

Music: Praeludium and Allegro (in the style of Pugnani) by Fritz Kreisler

Violinist: Amanda Batterson

Costumes: Rosella Nitti

Lighting: Nathan Tomlinson, Jacob Snodgrass

Dancers

Annie Deutz, Caitlin Cucchiara, Diana Robertson, Ray Dones, Kyle Hadenfeldt, and Joshua Manculich

Created for the MUSIC + MOVEMENT FESTIVAL and premiered by Thodos Dance Chicago at the Auditorium Theatre’s Katten/Landau Studio on February 28, 2013.

CERQUA RIVERA DANCE THEATRE

WITH JAMES SANDERS, STU GREENSPAN, AND JOE CERQUA

Lagrimas Negras- Black Tears

Choreography: Wilfredo Rivera

Composition: Miguel Matamoros

Music performed by: James Sanders, Violin; Pharez Whitted, Trumpet; Dan Hesler, Flute;

Marc Abel, Keyboards; Stu Greenspan, Bass; Rob Dicke, Drums; Joe Cerqua, Vocals

Dancers

Laura Chiuve, Jennifer Colvin, Rachel Cortes, Andrea Deline, Kate Dempsey, Evan Howard, Maxey Koch, Marc Macaranas, Madison Suffredini, and Raphaelle Ziemba

Created for the MUSIC + MOVEMENT FESTIVAL and premiered by Cerqua Rivera Dance Theatre at the Auditorium Theatre’s Katten/Landau Studio on March 2, 2013.

DANCEWORKS CHICAGO

WITH PAUL WERTICO

From Here to There

Choreography: Francisco Aviña

Music composed and performed by: Paul Wertico

Costumes: Vin

Lighting: Todd L. Clark

Assistants to the choreographer: Odbayar Batsuuri and Shauna Zambelli

Music editing: Christopher Perricelli/New Realm Studios

Dancers

Greg Blackmon, Steffi Cheong, Marissa Horton, Demetrius McClendon, Angela Dice Nguyen, and Matt Wenckowski

Commissioned by the Auditorium Theatre as part of their MUSIC + MOVEMENT FESTIVAL and premiered by DanceWorks Chicago at the Katten/Landau Studio in Chicago, IL, on April 7, 2013.Generously underwritten by Trudy and Jim Westerman.

GIORDANO DANCE CHICAGO

WITH EVAN BIVINS AND KEVIN O’DONNELL

JOLT

Choreography: Autumn Eckman with concept and structure by Nan Giordano

Original Music: Evan Bivins

Music performed by: Evan Bivins, Kevin O’Donnell

Costumes: Nina G

Lighting: Kam Hobbs

Dancers

Devin Buchanan, Joshua Blake Carter, Zachary Heller, Lindsey LaFountain, Lindsey Leduc, Maeghan McHale, Ashley Rockwood, Sean Rozanski, Meredith Schultz, Martin Ortiz Tapia

Q&A with Ginger Thatcher, Assistant to Choreographer Lar Lubovitch

Interview by: Amanda McAlpine

Over the past two weeks, The Joffrey Ballet has had the pleasure of working with world-renowned choreographer, Lar Lubovitch and his assistant, Ginger Thatcher, whose impressive background includes choreographing for theatre productions, film, TV, dance and opera, and working as Associate Choreographer for many Broadway shows. In speaking with Ginger, it was evident that her warm personality, passion for dance, and fondness for choreography have all been contributors of her success. In this interview, Ginger provides a unique perspective to working with Lar and shares her experience rehearsing with The Joffrey Ballet.

AM: How did you become involved with Lar Lubovitch Dance Company? With an amazing reputation and internationally recognized, was it an easy decision to make to join the company?

GT: It was a natural progression for me and I was ready to make a move after I had been withCleveland Ballet for 10 years. I had danced in a work by Lar, while in Cleveland Ballet, and had kept in touch with him over the years, so I was absolutely thrilled when he asked me to join his company. I have always been attracted to companies who perform diverse works, both classical and contemporary. When I was dancing professionally, Cleveland Ballet was closest to The Joffrey in terms of repertoire and I was able to dance principal roles there. The training was also fantastic- we got to take José Limon workshops and then perform a Limon piece. It was rare to be able to have that in-depth training for a specific piece. The workshops were extremely helpful because they enriched the movement. What attracts me to companies like the Joffrey, is the diverse repertoire, and the company’s ability to execute such a wide range of styles so effortlessly. 

AM: What’s it like working with Lar- First being a dancer in his company and now his assistant?

GT: I have always enjoyed working with Lar because he is not only highly respectful of his dancers, but he allows us to be a part of the creative process. As this is not common practice in classical ballet, I was speechless when he first asked for input on how best to execute one of his steps [laughs]. That was the first time anyone had ever asked me that, and I had not been exposed to the idea of actually contributing to a work with the choreographer. In classical ballet, you are given the steps, and you generally have to execute them as you are directed.  The idea of collaboration is much more common in contemporary dance.

AM: Who inspires you to choreograph?

GT: I really appreciate Lar’s choreographic style- his movements are so unique and beautiful. I really admire both Lar and Jiří Kylián as choreographers. They are extraordinary. Lar produces genius work, so it makes it difficult to choreograph [smiles] it’s hard to find a new lift that he hasn’t already thought of. I find that my voice comes out from working with him, but I can take from my Broadway background and classical background to find my own voice.

AM: You have quite a diverse background: Broadway, modern dance and classical ballet. What was your training like?

GT: Growing up as a navy “junior” I traveled everywhere, receiving very diverse training, even within the classical technique. From RAD training, to Vaganova training, and I quickly had to adapt. In the end, I think my diverse training helped me to become stronger, more adaptable, and well-rounded in my dancing. I was also strong in contemporary dance- which made dancing with Lar’s Company a great transition from Cleveland Ballet. I always had an interest in Musical Theater growing up, so I took acting classes, voice lessons and tap lessons.  I loved it all.

AM: How were you able to become a choreographer and work on so many different projects? How did these opportunities arise?

GT: I was lucky to have had some great opportunities to become involved with choreographing. Ben Stevenson inspired me and allowed me to work on projects as an apprentice with the Houston Ballet. Additionally, I was the founding director of a choreography project called “New Steps” while in Cleveland, with two other dancers, Margaret Carlson, and David Shimotakahara, which garnered an “Achievement in the Arts” nomination. Lar was always very generous when I joined his company, and allowed me to use his studio space for free- and I am grateful for that.

 I’ve also had the pleasure of performing in musicals such as West Side Story, Carousel, Phantom, Peter Pan, Showboat, Evita, etc. I was fortunate that Lar asked me to be his assistant on The Red Shoes for Broadway.  One thing led to another and that show opened up the doors for me to work again on Broadway with Carousel, Big with Susan Stroman, Matthew Bourne’s Swan Lake, A Year with Frog and Toad, and Oklahoma! , again with Susan Stroman. I will be her Associate for a new musical in 2014.

AM: How is working on Othello different than some of the other works you have done? (I.e. The Red Shoes) What is special about Othello?

The movement speaks the story- not the other way around. Othello is unique because it is a dance in 3 acts, which follows the typical format of a classical ballet, but there is hardly any pantomime.  The story is told through dance alone. It’s also special because it was Lar’s first 3 act production he ever created. I was especially honored when he asked me to be his assistant in this process because it was new for him. Lar’s choreography works so well with Othello because of his contemporary style and overall design of movement. I like to think of Lar’s choreography as “designing in space.” There are a lot of circular sweeping movements, (which is challenging for classically trained dancers to move in this way) - you can get very sore! The music is also a difficult score for the dancers to move to. The counts are not in typical eight-counts, if it’s counted at all. It’s beautiful but very challenging. However, The Joffrey is the best company to receive Lar’s work because of their diverse movement abilities. They are able to execute anything they are given and it’s also rewarding to see the principal dancers growing from the last time they performed Othello in 2009. This version of Othello is going to be the best yet; Lar is continuing to perfect the movements from all of the versions of Othello he has set on other companies including ABT, so this work continues to evolve with each version.  There is a layer of richness that is brought to this production that will make it truly special. It’s also motivating for the dancers to work with Lar because of the “kinetic intelligence” that one finds in his movement.  Lar’s choreography is never just steps. The dancers are challenged because of the way they need to execute the shapes and flow of movement, and through the movement comes the emotional story. Dancing this work is very fulfilling. 

The Joffrey Ballet’s Othello will be performed at the Auditorium Theatre of Roosevelt University, 50 E. Congress Pkwy., 800-982-2787, April 24 – May 5, 2013. Tickets ($31-152) are available at the box office or on Ticketmaster.com. This will be the last time to see The Joffrey performOthello in Chicago, as it will be retired from active repertory. http://www.joffrey.org/othello 

The Tenors on Why They Love Chicago [VIDEO]

Clifton and Remi, two of the four members of The Tenors, personally tell us why the are thrilled to be performing in Chicago at the Auditorium Theatre on May 12!


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The Tenors: Lead with Your Heart

Venue: Auditorium Theatre Mainstage
Dates: Sunday, May 12, 2013
Times: 7:00 pm
Price: $59.50 and $49.50.

Since their inception only five years ago, The Tenors have been thrilling audiences around the world with their powerful voices and memorable melodies. Their blend of classical music and contemporary pop has garnered them international success. Their music is rich and soulful with powerful anthems and beautiful melodies.

For their live performance The Tenors will draw selections from their new album,Lead With Your Heart, as well as some of their past hits. Lead With Your Heart, their second studio album, stretches the boundaries of classical crossover by combining classic songs, modern tunes and Spanish and French world music. From cover features such as Bob Dylan’s “Forever Young” and Elton John’s “Sorry Seems To Be The Hardest Word” to the inspirational anthem “Amazing Grace” and one of the most recognizable and heroic Tenor arias “Nessun Dorma”, the diverse track list features a mix of pop favourites and classical staples along with new compositions written and co-written by The Tenors.

Over the past two years, The Tenors have performed worldwide and shared the stage with legendary artists such as Andrea Bocelli, Celine Dion (on the Oprah show) Sting, and Paul McCartney, to name a few. More recently, The Tenors were featured performers on two primetime international broadcasts: The Emmy Awards live from Los Angeles and The Queen’s Diamond Jubilee celebrations from Windsor Castle in the UK, where The Tenors performed for Her Majesty.

Phone: 800.982.ARTS (2787) | Box Office: 50 E. Congress Pkwy.

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.   

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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.