Dancing in Chicago - Thodos Dance Chicago's Tenley Dorrill

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

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

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

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

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

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

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

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.

Sharing My Love of Ailey with Chicago

By Roderick K. Hawkins

I’ve had a longtime love affair with Alvin Ailey American Dance Theater. A little more than 20 years ago, this dynamic ensemble made its way to Baton Rouge, Louisiana—my home town—and performed on the campus of Southern University. I was a junior in high school at the time. Even though I was very much a typical teenager who devoted his attention to pursuing popularity, school activities, and socializing, witnessing the beauty of Alvin Ailey literally changed my life.

From the moment they took the stage, these striking, talented and spirited dancers held my attention. I never really fully appreciated the power for dance until I saw the Alvin Ailey American Dance Theater. I still can’t put into words how I felt when the company performed “Revelations.” What I did know was that, once the performance ended, I would have to see this ensemble again.

Fast forward to 2013 and, as I look around my house, there are elements of Ailey all around. Among my Ailey treasures are: program books from the last several years of Chicago engagements; a framed poster of Judith Jamison performing “Cry”; Alvin Ailey’s autobiography on my bookshelf; the music of “Revelations” on my iPod; and my annual Ailey tour refrigerator magnets in the kitchen. I think it’s safe to say that my house and my heart are truly Aileyfied.    

For the past few years I’ve had the pleasure of supporting the Auditorium Theatre ofRoosevelt University as an Ailey Ambassador—a member of a group of Chicagoans who are committed to building more audiences for Ailey’s Chicago run. This year is no exception. I’m always thrilled to help drive tickets sales and introduce new audiences to the group that is called the “cultural ambassador to the world.” I feel connected to the Ailey legacy when I reach out to my friends and colleagues and encourage them to support the performances.

From March 8-17 Chicago will be lifted by the dancing spirits that are the Alvin Ailey American Dance Theater. I am proud to be among that number and happy that so many people from in and around Chicago will join in welcoming the ensemble to our city. All of us who will attend have a connection to Ailey. For some it’s pure entertainment. For others it’s a celebration of beauty and technique. For me, it’s like welcoming a close member of the family for an extended stay. Alvin Ailey has always been an essential part of my quality of life and I am excited that they are, once again, back in Chicago.

Roderick K. Hawkins is the Vice President of External Affairs for the Chicago Urban League and is an Ailey Ambassador for the Auditorium Theatre of Roosevelt University.

Coming Full Circle At The Auditorium

By Catherine L. Tully

The Auditorium.

I have literally grown up with this building in my life, and my journey in dance would not have been the same without it.

When I was a little girl, my mom used to take me to see performances there. We’d sit way up in the gallery seats, bringing our pop-up opera glasses to see the dancers on stage a little bit better. I can recall watching many a ballet from there, and at that height you notice a lot about the patterns! This was the also the stage where I saw Nureyev perform—one of the most amazing things any dancer could ever hope to see.

After studying at Chicago City Ballet School for a number of years in my teens, I was invited to perform Balanchine’s Four Temperaments with the company on stage at the Auditorium. I was thrilled—and terrified. This was not like being a child in The Nutcracker where you are on stage with fancy clothes and big set pieces among a sea of others. This ballet left you nowhere to hide. Only a handful of dancers were on stage at one time, costumes basically consisted of a leotard and tights, and the choreography was challenging—so my first time on this tremendous stage came coupled with a lot of pressure.

Nureyev’s autograph on an Auditorium program! 

I can still recall the thrill of it—dancing something from my favorite choreographer—on my favorite stage. Frightened as I was to be out there, it was exhilarating as well. As I looked out into the darkness at the end of the performance, I thought briefly about how odd it was that I was now on the other side of things—no longer a spectator. It was truly something I never could have imagined when I attended all those years before with my mom.

Fast-forward to the present day in my current role as editor/owner of 4dancers.org, a blog for dancers on the web, and once again the Auditorium plays a central part in my life. Things have come full-circle—I have returned to the audience—but this time in yet a different role. Now I attend to review companies such as the Joffrey Ballet and to help sponsor and support wonderful events like Dance for Life Chicago. It’s funny how things have a way of working out in a way that you never could have anticipated, isn’t it?

I took my niece to see Joffrey’s Nutcracker for the very first time in December, and I watched as her eyes opened wide with wonder as we walked into the theater to find our seats, soaking in all of the gold and grandeur. It took me back to those days with my mom, and I remembered how it felt to see that theatre through the eyes of a child.

As I think about all of the good times that I’ve had at the Auditorium I can’t choose just one moment to highlight, but I can say this—experience has taught me that it’s likely there are many more to come.

And I look forward to them all.

Catherine L. Tully is the owner/editor of 4dancers.org, a blog for dancers, dance teachers and those who love dance. She serves as the Outside Europe Representative for the National Dance Teachers Association in the UK and has over 40 years of experience in dance as an instructor, educator, performer and writer.

Hi, I’m Alfreda Burke, soprano soloist in Too Hot to Handel.

By Alfreda Burke, Soprano Soloist

Where do I begin sharing my Too Hot to Handel experience?!  You have a beloved, often-performed original score inspired by God, masterfully composed  in 24 days by George Frideric Handel in 1741, Messiah; powerful scriptural text, diverse musical genres – a hybrid of classical, jazz, blues, gospel, rock, funk, fusion; multi-cultures and ages; talented and skilled musicians represented in the Too Hot orchestra, jazz combo, choir (prepared by Bill Fraher), soli Rodrick Dixon, Karen Marie Richardson, myself; Alvin Waddles on piano and Suzanne Mallare Acton on the podium.  Don’t forget the light and sound technicians, stage manager and crew behind-the-scenes; produced by visionary Executive Director Brett Batterson, supported by Board Chair, Mel Katten and Auditorium Theatre Board, brass and staff; generous donors, corporate sponsorship, Friends and Ambassadors of THTH; student and educational outreach; press and media; and the electric energy exchanged between our wonderful audiences and the stage!  We affectionately call it Handel’s Messiah “on steroids”, not your grandfather’s or grandmother’s Messiah!  There’s an exuberant spirit in the atmosphere when all of these components come together!

My journey includes a lot of Roosevelt University and Auditorium Theatre history; a double alumna of RU and an RU CCPA Advisory Board Member.  A body of work from Symphony Center, Carnegie Hall to operatic, concert and musical theater stages in North America and Europe; Show Boat directed by Harold Prince, in the beautiful gold leafed walls of Auditorium Theatre; as well as Prague PBS Special, Hallelujah Broadway live concert, duo concert, Songs of a Dream and Too Hot to Handel.  The journey also includes work in education from Evanston-Skokie Dist. 65 to Wheaton College Conservatory to masterclasses and artist residencies today.  I was raised a pastor’s daughter in the Baptist to Mennonite church, playing Hammond organ and piano; singing hymns, anthems, spirituals, belting out traditional and contemporary gospel.  (…with many diverse musical memories made at Lindblom Technical HS!)  My parents ignited the musical flame within me.  My Dad played trombone in the Drake University Band, Army-Air Force Band, Thad Jones Band and my Mom sang in the renowned Rust College a cappella choir.  So, my sister and I developed an appreciation for an eclectic mix of music growing up!  Roberta Martin, gospel composer/singer/arranger, was my godmother.  Singing Too Hot to Handel incorporates all of my musical experiences – another reason why I love singing it!

Too Hot to Handel was commissioned by Marin Alsop (Baltimore Symphony) in 1993; with co-arrangers, Bob Christianson and Gary Anderson.  I’ve sung this piece for eleven years in Detroit and 2013 makes the eighth year here in Chicago at the Auditorium Theatre of Roosevelt University.  It has been a labor of love for me, the highlight beginning each year; pure worship and ministry.  Many moments are emotional because the message remains moving, meaningful and relevant.  Too Hotto Handel depicts the birth, life, death, resurrection of Jesus Christ, the Messiah; Emmanuel, God with us.  My role proclaims the good news that the Angel of the Lord delivered; narration, prophetic renderings (from Isaiah, Zechariah, I Corinthians) of what was and is to come.  This very unique piece has something for everyone; offering its audiences a powerful, inspiring experience unlike any other piece!  It feels new each time we hear the overture; the rich, warm texture of instruments fill the air; the beautiful melodies and counter melodies saturate your being; and we stand and open our mouths.  It’s so much bigger than all of us and our efforts, contributions.  Yet, it never fails to bring us all together.  I have countless favorite moments in the piece.  How perfect and appropriate that it is scheduled annually to celebrate the life and legacy of Dr. Martin Luther King Jr.; one who had a dream, was a Gospel Minister, preached a message of  peace, unity, inclusiveness, non-violence and was a Nobel Peace Prize recipient.  The audience is encouraged to clap, sing, shout, stand, dance – participate as the Spirit leads!  We hope that you will be there on January 19^th and 20^th to share in this wonderful event, to make it a tradition for you, family, friends and neighbors!  You don’t leave the same way that you come – you’re impacted, transported!  “This is the Lord’s doing; it is marvelous in our eyes!”   - Psalm 118:23

Too Hot to Handel: The Jazz-Gospel Messiah

Venue: Auditorium Theatre
Dates: Saturday, January 19 - Sunday, January 20, 2013
Times: Saturday at 7:30 pm, Sunday at 3:00 pm
Price: $74-$30

Honoring the life and legacy of Dr. Martin Luther King, Jr. through Handel’s classicalMessiah, the Auditorium welcomes backToo Hot for its 8th year. Too Hot packs the stage with more than 200 musicians, including some famous Chicago jazz favorites. They are joined by soloists Alfreda Burke, Rodrick Dixon and Karen Marie Richardson, as well as the city-wideToo Hot choir to create the jazziest Messiahyet.

Box Office: 50 E. Congress Pkwy. | Groups of 10+ 312.341.2357

Dance in the Land of Milk and Honey [Part 2 of 2. VIDEOS]

By Jennifer Turner, Chief Operating Officer/General Manager

In early December, I joined over one hundred arts professionals representing thirty-five countries assembled in Tel Aviv for the 2012 International Exposure. Learn about my experience by reading Dance in the Land of Milk and Honey [Part 1 of 2]

Videos and info on some of the dance companies I loved are below. Enjoy!

Vertigo Dance Company – Birth of the Phoenix   - The performance takes place under a geodesic dome that explores the relationship between man and the environment. The Vertigo Dance Company established the Vertigo Eco-Art Village in 2007 outside of Jerusalem where the company both lives and works. The intimate connection between the audience and dancers pulls you into performance and holds tight until the dancers are ready to release you out into the night.

Orly Portal Dance Company - Rabia – Rabia was an achingly gorgeous, traditional and haunting piece. The music and costumes were beautiful but I was most taken by the sensuality and expression in even the smallest of movements.

Kibbutz Contemporary Dance Company – If At All – Kibbutz has toured the states and I had some familiarity with the company prior to the trip. I loved the energy and strength of the company; this is definitely a company to watch for in the future.

Renana Raz – YouMake, ReMake – stage your response – This piece was so creative and fresh. The audience views a YouTube video either before or after a performance or a “reaction” to the video. Renana constantly creates new works and collaborates internationally to develop local pieces. My favorite piece began with this video and ended with this. The dancers in between tied these videos together in an unexpected emotional and visceral performance.

 Niv Sheinfeld & Oren Laor – Two Room Apartment – A lot of the dance I saw at the Exposure focused on defining space or existing within borders. This piece began with the physical marking of the space and worked up to the relationship of the two people in inhabiting that space. The piece, created by Liat Dror and Nir Ben Gal originally premiered in 1987. It is a subtle piece that slowly pulls you in stays long after it ends. 

Also check out:

Dafi Dance Group – Sensitivity to Heat

Odelya Kuperberg Dance – We haven’t seen blood. Yet

Eldad Ben Sasson – Strange Attractor

Talia Paz presenting Nigel Charnock – Haunted by the Future

Rotem Tashach – Paved Life

Inbal Pinto and Avshalon Pollak Dance Company – Gold Fish

Thank you to the Suzanne Dellah Center, Consulate of Israel, Midwest, The Ministry of Culture and Sport, & Consulate of Israel, New York. 

Nutcracker at #theAud [By Rogue Ballerina]

By Rogue Ballerina

I’ve been coming to see performances at The Auditorium Theatre since 1999. I’ve seen everything from the American Ballet Theatre to singer Michael Buble, but my favorite outing is to see Joffrey Ballet’s “The Nutcracker”. It’s a tradition. The beauty of the ballet and seeing the little girls dressed up is part of the magic, but the grandness and detail of the theater is what really makes it special. It wouldn’t be the same anywhere else.

Kindness ushers you through the front doors into the bustling lobby with marbled mosaic floors, a children’s choir singing carols and holiday decorations adorning 123-year-old walls. Once inside the theater, I can’t wait to look up at the gorgeous details of the painted murals and gold leaf designs on the walls and ceiling. Right before the conductor comes out, I take a moment to read the quote painted at the top of the proscenium - “The utterance of life is a song, the symphony of nature.” – and I think of all the people before me who have come here to appreciate the arts and be entertained.

In “The Nutcracker” there is a specific moment at the end of the Snow Scene in Act I, when the music and dancing all stops for a brief moment. That lull was always filled with Joffrey co-founder Gerald Arpino yelling “Bravo!” at every show. He passed away in 2008, yet I can still hear his voice in my head at that moment every time I watch and it makes me smile. He is part of the theater and my memories created at The Auditorium.

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My real name is Vicki Crain.  I’m a freelance writer, mainly arts and culture, in Chicago and a former dancer and dance teacher.  I danced with a semi-professional regional ballet company in Central Illinois for over ten years (Cinderella, Sleeping Beauty, Coppelia, The Nutcracker…the usual), where I also taught at the affiliated dance school while finishing up college (B.A. in English).  After moving to Chicago, I danced for a season with Zephyr Dance and did freelance work, including six years dancing and touring with a Chicago-based production company. I’ve worked with a range of choreographers including Randy Duncan, James Kelly, Jan Erkert and Dame Libby Komaiko.  My age is irrelevant except for the times when I’m getting out of bed and need to use my dog Giselle’s steps for help.

The Nutcracker - A Joffrey Dancer's Perspective

By Rory Hohenstein, Joffrey Dancer

When the holidays approach, as a ballet dancer that means The Nutcracker. If not the first, then it is definitely among the first ballets you perform. And like our craft, it takes time to grow, through the years moving from party child, to toy soldiers, then professionally progressing in roles as well until you can look back and successfully know you've performed almost every part. Besides the amazing score played by the orchestra, what makes this experience even more fun is having the chance to perform in such an historic and beautiful theater like the Auditorium. 

As artists in the theater, we experience the complete opposite side of what the audience sees, such as the quiet empty lobby, with all its grand marble and tiles. Or the smell of the popcorn seeping through the dressing room halls as the ushers start preparing before the doors open. But mostly, as the audience sits in their seats staring at the life and art happening onstage, we the artists are living the story, looking out at the opposite side of the theater. 

The House of the Auditorium is beautiful and stunning from where we stand. Looking out into soft glowing arches that surround everyone, it is a privilege to perform here. As dancers, every year heading into Nutcracker season, we have grown accustomed to working through the holidays, but perhaps the best part of that is knowing that it has come as a tradition for most families and friends to celebrate the season with Nutcracker. And to be a part of others' yearly traditions feels quite special. So the next time you're in your seat, be sure to look up and all around and take in the beautiful sights of the theater. Know that that our view is quite beautiful as well. 

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Rory Hohenstein was born in Washington, D.C. At age six he began dancing jazz, tap and modern. At 12 he began training at the Kirov Academy of Ballet in D.C. In his senior year of high school, he joined Le Jeune Ballet de France in Paris, while completing his studies overseas. In July of 2000, Rory joined the San Francisco Ballet as a member of the corps and was promoted to a soloist in 2006. In 2008, he moved to New York City, joining choreographer Christopher Wheeldon’s new company, Morphoses. As a member of Morphoses, he performed in their home season and toured with the company to Sadler Wells London and the Sydney Festival in Australia. Rory spent 2010 as a freelance dancer working on several projects with different companies, most recently finishing a season with the Lar Lubovitch Dance Company. Rory has had the pleasure of working with many esteemed choreographers including Helgi Tomasson, Wayne McGregor, Mark Morris, Christopher Wheeldon, Lar Lubovitch, Alexi Ratmansky, Val Caniparoli, William Forsythe, Jorma Elo and Wade Robson, from T.V.'s "So You Think You Can Dance." This is Rory’s first season with The Joffrey Ballet.
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The Joffrey Ballet

The Nutcracker

Venue: Auditorium Theatre
Dates: Friday, December 7, 2012 - Thursday, December 27, 2012
Times: Times Vary - See Below Schedule
Price: $117-$31

Running Time: 2 hours and 5 minutes(including a 20 minute intermission)

Collaboration conceived and directed by:
Robert Joffrey
Music: Peter llyich Tchaikovsky 

Celebrate the 25th anniversary of America’s #1 Nutcracker! A grand production with Tchaikovsky’s glorious score played live by a full orchestra, this is sure to be an evening of pure enchantment.

“The perfect ballet” – Washington Post

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

Turn, Turn, Turn: Dance for Life at 20

Live and in-person on Saturday, Aug. 20 at the Auditorium Theatre—and now a WTTW documentary, too!

By Cindy Stern

It seems such a short time ago that my friends and I assembled with other volunteers in the lobby of the Organic Theater on North Clark Street the night of the first Dance for Life (DFL). We were there to do something to call attention to the HIV/AIDS epidemic that had taken so many of our loved ones’ lives in and out of the Chicago dance community. We did not know how many others would show up, but if they did, we were hell bent on selling them a T-shirt! Before we knew it, our stock was sold out, as was the house of 400. A slightly tipsy newscaster in a pretty party dress made a speech before Dean Richards introduced the first of several dance companies from a stage so small, you couldn’t be sure all the leaps would be properly landed. In the end, everyone was on their feet—wildly clapping, exhilarated, empowered to do more—raise money and consciousness, get others involved, start planning next year.

Fast forward to 19 more big August nights. Backstage and from perches in the Chicago Athenaeum, Skyline Stage at Navy Pier, Harris Theater, and now, the Auditorium Theatre of Roosevelt University—ten times the size of our original venue—we still hope that our hard work, donations and applause can will HIV/AIDS away. The story may have changed, but millions of people, locally and globally, are still very much affected by the disease each day.

The idea that Keith Elliott, Harriet Ross, Danny Kopelson and Gail Kalver brought to life in 1991 has transformed, too. In fact, in an ironic twist, the more the DFL community has grown, the more intimate it has become. Committee members, dancers, choreographers, AIDS Foundation of Chicago staff and board, donors and more—once strangers—have evolved into close friends. Thanks to Diane Rawlinson, students at Wheeling High School have remained supporters through their college years and beyond. With their amazing finales, Randy Duncan and Harrison McEldowney have demonstrated that the limits of artistic collaboration are truly boundless.

I hope you’ll join us on August 20^th.

If you’ve ever performed or otherwise participated in Dance for Life, you’ve most likely not only enjoyed the experience, you’ve understood, on a very profound, visceral level, that the event opens you up to a greater generosity of spirit: compassion, appreciation of and love for fellow human beings.

Cindy Stern is a Chicago-based writer, event producer and creative strategist with 20+ years’ experience in cause-related marketing. She currently serves as coordinator of the Chicago Festival of Israeli Cinema and is completing her master’s degree in nonprofit management at Spertus Institute. She co-chaired Dance for Life in 2005-2006.

50 Years of Revelations [guest post]

Last week at the Auditorium Theatre, Alvin Ailey American Dance Theater was both a spectacular dance concert and an important history lesson. Gorgeous sculpted bodies performed with such impressive virtuosity that people could barely wait until the bows to cheer wildly. “Amens” periodically burst from the audience, affirming a perfectly executed pirouette or a Michael-Jordan-sized leap.

But what impressed me more than any high kick was the careful and calculated looking back as the company moves on to a new era, passing the baton of Artistic Director from Mr. Ailey’s muse and chosen successor Judith Jamison to choreographer extraordinaire Robert Battle.

This season marks the 50^th anniversary of Mr. Ailey’s masterpiece Revelations. The milestone was commemorated by a short documentary, an elegant editing together of vintage dance clips and Mr. Ailey’s and Ms. Jamison’s musings on the intent, power and persistence of Revelations. The work, set in three sections, uses spirituals, gospel songs and blues music to tell the stories of African American faith, joy and perseverance. It is loosely based on Mr. Ailey’s southern upbringing in the churches and cotton fields of 1930’s Texas.



I have seen Revelations before, but never truly appreciated the accomplishment of its immortality. If dog years are seven to one human years, dance years are more like twenty to one. Dances disappear as often as they are made. Although in recent years video has helped preserve the steps, the passion and intent often get lost in the game of telephone that is required to pass down choreography. Just as a painting fades over time, a dance can easily become an archive of steps, devoid of the initial spark that started the fire. I know I’m seeing one of these dances when the dialogue in my head sounds like, “I appreciate and respect what I am seeing. I understand its importance. But I feel nothing in my gut.

When the screen lowered onto the stage and the documentary film began as a preface to Revelations on Wednesday night, I started to anticipate (and dread) that feeling. “I’m in a museum now. This video is the plaque in front of the exhibit, the framework through which I’m supposed to experience the next 20 minutes. I’m meant to appreciate this history and I’m being told (by Mr. Ailey himself!) how to feel. Can I truly experience this dance, here and now, in this moment?” It is the 'liveness' and immediacy of dance that draw me to it. It exists in moving, breathing, thinking, changing bodies. It is different on every stage, with every new dancer and with each new day.

But as Revelations began my nervousness dissipated. This work is the perfect storm of artistic innovation, commercial success and historical staying-power. The Ailey dancers have a great responsibility on their shoulders, to continue to breathe new life into the steps while paying homage to what has come before them. It is a precarious balance of moving forward while looking back, a tight rope act that this company continues to ace – especially as Mr. Battle takes the reins and charges ahead. For me, the lesson was learned. Revelations has a magical timelessness. I both appreciate the history behind it and feel the urgency in front of me. This history is not static or stale; it exists in the sweating, working, beautiful bodies of these talented artists.

The steps and the spirit of Revelations remain as vibrant as ever. Fifty never looked better.

Ed. Note: We invite all our readers to share their thoughts on Revelations in the comments and performance attendees to leave us feedback on Talkbackr.

Lizzie Leopold is a Chicago choreographer and dance scholar. She is the Artistic Director of the Leopold Group and holds degrees from the University of Michigan (BFA in Dance) and New York University (MA in Performance Studies). Lizzie is a PhD candidate at Northwestern University, writing about the intersection of dance and business.

"It all started with a spare ticket." How One Woman Fell in Love With Alvin Ailey American Dance Theater [guest post]

It all started with a spare ticket. After aerobics class, a co-worker announced that she had a ticket for the next week’s Alvin Ailey performance and was anyone interested? Sure, I said. We agreed to meet at the Artists’ Café to grab a bite before the performance. We hardly knew each other but quickly learned we had dance backgrounds and were forever dance fans.

AAADT's Matthew Rushing, Briana Reed and Rosalyn Deshauteurs in Alvin Ailey's Revelations.
Photo by Andrew Eccles.

The performance was amazing and I had not seen anything like it before. Such magical precision, such exquisite athleticism choreographed to powerful music. It was March 28, 2001 and Stef and I decided we would see them again the following year, no matter what.

Since then, we have invited our friends and families to join us in our annual spring ritual, now in its 10th year. Some of us dine together before the performance and then meet the rest of the group at our seats.

We’ve had lots of fun and many memories. By the time the company performs the masterpiece “Revelations,” many audience members are brought to their feet and are singing and dancing. For as many times as I have seen it, I don’t think I will ever tire of "Revelations" – a favorite is the solo "I Wanna Be Ready." One year, an elderly man who was seated behind us was brought to tears at the end of "Revelations." I will never forget the look on his face – a mixture of grief and joy. I’ve also seen sulky teens and reluctant husbands come alive during a performance. One year, I purchased a 2-CD set with "Revelations" and other music the company has used. It gets regular play and is a personal treasure – it is no longer in production. One of these days, I’ll see the company perform in their hometown of New York.



Being an Alvin Ailey Ambassador has allowed me to share my love for AAADT with friends, family and other dance fans. It has also showcased the fabulous work that the Auditorium Theatre staff accomplishes.

Alvin Ailey said "I believe that dance came from the people and that it should always be delivered back to the people." Yes, Alvin Ailey American Dance Theater has truly delivered in 48 states and 71 countries on six continents, and always in Chicago at springtime.

Ailey Ambassadors are a group of volunteers who's mission is to develop new Alvin Ailey American Dance Theater audiences through grassroots efforts.

Christina Breslow actively seeks and enjoys the art, film, fashion, architecture, music and exhibition programming offered by Chicago’s dynamic cultural organizations. She continues to be an ardent fan of the Alvin Ailey American Dance Theater. Her “happiness list” includes enriching must-do’s in Chicago’s vibrant neighborhoods and destinations worldwide.