Fall Series Program Book - Hubbard Street Dance Chicago

Transcription

Glenn Edgerton, Artistic Director
FALL SERIES
OCTOBER 15–18
An Evening of Work by William Forsythe
N.N.N.N. PREMIERE U.S. PRODUCTION
Quintett
One Flat Thing, reproduced HUBBARD STREET PREMIERE
This publication sponsored by
Thank you to our
Season 38 Sponsors
Official Provider
of Physical Therapy
Official Health Club
Hubbard Street Dancer Jason Hortin in A Picture of You Falling by Crystal Pite. Photo by Todd Rosenberg.
hubbardstreetdance.com
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A letter from Glenn Edgerton, Artistic Director
The opportunity to present a full evening of William Forsythe’s work,
opening our 38th season, is a timely one. This fall, he began teaching
at the University of Southern California’s new Glorya Kaufman School
of Dance, with which we will partner throughout the coming year, and
where we will launch an annual Summer Intensive residency starting in
2016. Forsythe is also returning this season as associate choreographer
to the Paris Opéra Ballet, which premiered some of his most enduring
and popular works. This celebration of Forsythe, his prolific career, and
these new endeavors is truly warranted.
Work began in earnest on Hubbard Street’s first all-Forsythe program three years ago, but it was much
earlier that my interest was sparked in these particular choreographic projects. I first saw N.N.N.N.
during its initial run in 2002, and I am thrilled that we have now brought it into our repertoire, digging
into the process of rebuilding it with an expert team, moment by moment, gesture by gesture.
I will also never forget the impact made by my first viewing of One Flat Thing, reproduced, during
a performance by Ballett Frankfurt under Forsythe’s direction. Over the past month, as I have
watched our company of dancers learn this incredible creation, my fascination with it has only
grown more in depth and intensity.
Rather than choreography structured in direct relation to the music, these works are “glued together”
by the dancers themselves, by their full participation in countless split-second decisions. Every intricate
action they take must wait for another dancer’s cue, a specific signal sent across the stage telling
them it’s time for the next response — which, once taken, triggers another dancer’s reaction, time and
again. Each movement in these dances is just one component interconnected in conversation with all
of the others. These pieces begin, they happen exactly once — uniquely — and then they end.
Although Quintett is an earlier work of Forsythe’s, originally shown in 1993, it shares many qualities
with the other two. The sense of camaraderie and dependency it requires of the five dancers who
perform it, the bonds it forges between them, speaks to Forsythe’s sense of humanity and the
great trust he offers to his collaborators. I am deeply moved and proud of our dancers, seeing how
they have grown since we first presented Quintett three years ago. It is a work whose richness and
rewards develop further with each performance.
This program expresses the significance of Forsythe’s work in dance. It shows various facets from
his decades of choreography, transmitted through the personalities and talents of our dancers, who
have been transformed through our recent immersion within his ideals. Please enjoy.
Warmly,
Glenn Edgerton
Artistic Director
Hubbard Street Dance Chicago
Left: Staging Artist and original cast member Cyril Baldy rehearses N.N.N.N. by William Forsythe with Hubbard Street
Dancers Jeffery Duffy, left, and Andrew Murdock, foreground. Above: Hubbard Street Artistic Director Glenn Edgerton.
Cover: Hubbard Street Dancers Florian Lochner and Ana Lopez. Photos by Todd Rosenberg.
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Fall Series 2015
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Glenn Edgerton
Artistic Director
Jason D. Palmquist
Executive Director
Lou Conte
Founder
Terence Marling
Director, Hubbard Street 2
Lucas Crandall
Rehearsal Director
Karena Fiorenza Ingersoll
General Manager
Alejandro Cerrudo
Resident Choreographer
Claire Bataille
Director, Lou Conte
Dance Studio
Kathryn Humphreys
Director of Youth, Education
and Community Programs
Suzanne Appel
Director of External Affairs
Ishanee DeVas
Company Manager
Jason Brown
Director of Production
Stephanie Vera
Production Associate
Rebecca M. Shouse
Wardrobe Supervisor
Kilroy G. Kundalini
Audio Engineer
Stephan Panek
Head Carpenter and Stage Operations
Sam Begich
Master Electrician
Julie E. Ballard
Stage Manager and
Properties Master
Thank you to our Fall Series Sponsors
Marisa C. Santiago
Manager of Artistic Operations
Season Sponsors
Season Media Sponsor
Season Radio Sponsor
Series Sponsors
This series is sponsored by the Harris Theater for Music and Dance,
with support from Sandy and Jack Guthman through the Imagine campaign.
Jay Franke and David Herro
Lead Individual Sponsors
The Elizabeth F. Cheney Foundation
Lead Foundation Sponsor
This project is partially supported by a grant from the Illinois Arts Council Agency.
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Fall Series 2015
This series is sponsored by the Harris Theater for Music and Dance,
with support from Sandy and Jack Guthman through the Imagine campaign.
Lead Individual Sponsors
Lead Foundation Sponsor
Thank you to the “Friends of Forsythe”
who made this performance series possible!
Sara Albrecht
Pam Crutchfield
Patti Eylar and Charles Gardner
Richard L. Rodes
Allan and Ellen Drebin
Lois and Steve Eisen
Trish and Harp Harper
Thomas J. O’Keefe
Staging Artist Amancio Gonzalez rehearses N.N.N.N. by William Forsythe with Hubbard Street Dancers,
from left: Jacqueline Burnett, Ana Lopez, and Alicia Delgadillo. Photo by Todd Rosenberg.
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N.N.N.N.
PREMIERE U.S. PRODUCTION
William Forsythe, Choreography; Costume, Lighting and Stage Design
Thom Willems, Music
Tanja Rühl, Technical Consultant
Cyril Baldy, Amancio Gonzalez, Staging
N.N.N.N. appears as a mind in four parts, four dancers in a state of constant, tacit connection.
Underscored by the sudden murmured flashes of Thom Willems’ music, these dancers enter into
a complex, intense inscription. Their arms, heads, bodies and legs become singular voices, each
tuned and in counterpoint to the other. These performers write out a text of the voice of the body,
slowly, then more and more rapidly, coalescing over and over into a linked entity of flinging arms,
folding joints and a sharp, high sense of time. Hubbard Street is honored to be the first U.S. dance
company to perform William Forsythe’s N.N.N.N., restaged by original cast members Cyril Baldy and
Amancio Gonzalez in fall 2015.
Created for and premiered by Ballett Frankfurt November 21, 2002 at the Opernhaus, Frankfurt am Main, Germany.
First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original
score by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of N.N.N.N. is sponsored by
the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine campaign.
Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by Individual
Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner, and Richard L. Rodes. The Elizabeth F.
Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.
INTERMISSION
Quintett
William Forsythe, Choreography, in collaboration with Dana Caspersen, Stephen Galloway,
Jacopo Godani, Thomas McManus and Jone San Martin
Gavin Bryars, Music
Stephen Galloway, Costume Design
William Forsythe, Lighting Design
Thomas McManus, Staging
Hubbard Street was honored to be the first U.S. dance company to perform William Forsythe’s
Quintett. Original cast members Thomas McManus, Dana Caspersen and Stephen Galloway
restaged Forsythe’s landmark 1993 choreography in Hubbard Street’s Chicago studios in 2012.
Quintett’s seamless progression of solos, duets and trios for five dancers runs in concert with — and
counter to — themes of loss, hope, fear and joy heard in Gavin Bryars’ orchestral composition from
1971, “Jesus’ Blood Never Failed Me Yet.” Exemplary of the many works created by Forsythe as
artistic director of Germany’s Ballett Frankfurt from 1984 to 2004, Quintett explores the strictures
of classical ballet by testing their resilience to manipulation, torsion and fragmentation.
Created for and premiered by Ballett Frankfurt October 9, 1993 at the Opernhaus, Frankfurt am Main, Germany. First
performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, May 31, 2012. Technical support
provided by the Harris Theater for Music and Dance. Music by Gavin Bryars: “Jesus’ Blood Never Failed Me Yet,” as
recorded by Schott Music GmbH & Co. KG, Mainz. Quintett is sponsored by Meg and Tim Callahan, Denise Stefan Ginascol
and John Ginascol, Sarah J. Nolan and Randy and Lisa White. The Julius N. Frankel Foundation is the Lead Foundation
Sponsor of Quintett.
Hubbard Street Dancer David Schultz in Quintett by William Forsythe. Photo by Todd Rosenberg.
INTERMISSION
One Flat Thing, reproduced
HUBBARD STREET PREMIERE
William Forsythe, Choreography, Lighting and Stage Design
Thom Willems, Music
Stephen Galloway, Costume Design
Ayman Aaron Harper, Cyril Baldy, Amancio Gonzalez, Mario Alberto Zambrano, Staging
One Flat Thing, reproduced begins with a roar: Twenty tables, like jagged rafts of ice, fly forward
and become the surface, the underground and the sky inhabited by a ferocious flight of dancers.
This pack of bodies rages with alacrity, whipping razor-like in perilous waves. Its score, by composer
and longtime Forsythe collaborator Thom Willems, begins quietly before becoming a gale, gathering
sonic force as the dancers’ bodies produce a voracious and detailed storm of movement.
Created for and premiered by Ballett Frankfurt February 2, 2000 at Bockenheimer Depot, Frankfurt am Main, Germany.
First performed by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, October 15, 2015. Original
music by Thom Willems. Used by permission of Thom Willems. Hubbard Street’s acquisition of One Flat Thing, reproduced
is sponsored by the Harris Theater for Music and Dance, with support from Sandy and Jack Guthman through the Imagine
campaign. Lead Individual Sponsors of this series are Jay Franke and David Herro. Additional support is provided by
Individual Sponsors Sara Albrecht, Pam Crutchfield, Patti Eylar and Charles Gardner, and Richard L. Rodes. The Elizabeth F.
Cheney Foundation is the Lead Foundation Sponsor of the Season 38 Fall Series.
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Fall Series 2015
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Hubbard Street Staff and Board
Administration
Karena Fiorenza Ingersoll
General Manager
Colleen Sonnefeldt
Senior Manager of Finance and
Administration
Krista Ellensohn
Manager, Pre-Professional
Programs
Meredith Dincolo
Artistic Associate and Coordinator,
Pre-Professional Programs
Marisa C. Santiago
Manager of Artistic Operations and
Company Manager,
Hubbard Street 2
Jessica Lotz
Accounting and Operations
Coordinator
LaMar Brown
Jasmine Carrig
Artistic Administration Interns
Joey Gasso
Erin Harner
Alaya Turnbough
LCDS Interns
External Affairs
Suzanne Appel
Director of External Affairs
Kalena Chevalier
Associate Director of Development
Ronia Holmes
Associate Director of Marketing
Allan Waite
Manager of Ticketing and
Patron Services
Zachary Whittenburg
Manager of Communication
Jose E. Gaona
Corporate and Foundation
Relations Coordinator
Victoria Palmer
Marketing Coordinator
Meghan Pioli
Development Coordinator
Sidney Cristol
Advertising, Sales and Ticketing
Emma Speiser
Danielle Luetkehans
Development Interns
Alexander Halstead
Video Production Intern
Youth, Education and
Community Programs
Kathryn Humphreys
Director of Youth, Education and
Community Programs
Sarah McCarty
Senior Manager of
School Partnerships
John E. Vazquez,
Assistant Treasurer
Ellis Regenbogen+,
Immediate Past Chair
Marge Collens+, VP Development
Caryn Jacobs,
Assistant VP Development
Kelsey Allison
Youth Programs Manager
Katherine V. Schostok,
Assistant VP Development
Michelle Modrzejewski
Community Programs Manager
Meg Siegler Callahan+,
VP Board Development Jennifer Gunter
Youth Programs Coordinator
Marc Miller+,
VP Artist Training Continuum
Kristen Rybicki
Education Coordinator
Richard F. Tomlinson II,
VP Facilities
Production Staff
Jason Brown
Director of Production
Ross B. Bricker
Joel Cory
Dirk Denison
Michael Downing
Allan Drebin
Paul Gignilliat
Linda Hutson
Karen H. Lennon+
Betsy Stelle Morgan
Maureen Mosh
Sarah J. Nolan
Sheila Owens
Byron Pollock++
Alyssa Rapp
Lauren Robishaw
Kelly Royer
Mary Kay Shaw
Denise Stefan-Ginascol++
Deborah Stonebraker
Randy White+
Ishanee DeVas
Company Manager
Stephanie Vera
Production Associate
Julie E. Ballard
Stage Manager and
Properties Master
Kilroy G. Kundalini
Audio Engineer
Stephan Panek
Head Carpenter and Stage
Operations
Sam Begich
Master Electrician
Wardrobe Staff
Rebecca M. Shouse
Wardrobe Supervisor
Constance Thome
Rachel Winborn
Drapers
Nancy Brundage Sidman
First Hand
Eli Hunstand
Stitchers
Jenni Schwaner Ladd
Touring Wardrobe
Bethany Sassen
Wardrobe Intern
Board of Directors
Mayor Rahm Emanuel
Honorary Chair
Q&A with Ayman Aaron Harper,
Forsythe Staging Artist and founding
member of Hubbard Street 2
Tell us about your first visit to Chicago.
I finished school a year early and came to Chicago for the first time at the end of 1996. I was
performing in the city and decided to visit the Lou Conte Dance Studio, to take a class, which
Julie Nakagawa Böttcher watched. She asked me, “What’s going on with you? What’s your
story? How old are you?” and she called [Hubbard Street founder] Lou Conte. The two of
them were in the process of starting a trainee program here — which became what we know
now as Hubbard Street 2 — they invited me to join, and I did.
There were just four of us and we took a lot of classes, in addition to work-study tasks like
cleaning studio mirrors, [Laughs] and we did a lot of outreach with students, here in Chicago,
which was quite an awesome experience, actually. It’s been great, being back here, to see
how that program has developed. How many dancers are in Hubbard Street 2 now?
Six, plus two HS2 Apprentices.
I think that’s wonderful, and some of them have been present in our rehearsals for this
Forsythe program, and the work they’re doing is fantastic.
Hubbard Street 2 Dancer Elliot Hammans, main company member Jesse Bechard, and Staging Artist Ayman Aaron Harper rehearse
One Flat Thing, reproduced by William Forsythe. Photo by Todd Rosenberg.
Life Directors
John W. Ballantine+
Corinne Brophy
Edythe R. Cloonan++
Sondra Berman Epstein+
Stanley M. Freehling
Charles R. Gardner
Sandra P. Guthman+
James Mabie++
James F. Oates+
Marie E. O’Connor++
Timothy Schwertfeger++
Jack D. Tovin
Sallyan Windt
William N. Wood Prince+
+ Past Board Chair
++ Past Board President
Sara Albrecht++, Chair
Program Book
Ronia Holmes
Zachary Whittenburg
Editors
Richard L. Rodes,
President and Treasurer
Peggy Fink, Designer
Sidney Cristol, Advertising Sales
Camille E. Rudge, Secretary 10
Fall Series 2015
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When did you begin working with Forsythe?
I joined his company in 2001, when it was still Ballett Frankfurt, and stayed for three
years until The Forsythe Company began, at which point we went from something like 38
dancers, down to 14. It was a strange time.
We’re fortunate to have Forsythe himself, as well as quite a few of his colleagues, here in
Chicago to stage this program. Can you explain who has been working on what?
Sure, so, the original cast of N.N.N.N. in 2002 was Cyril Baldy and Amancio Gonzalez, who
are both here, plus Georg Reischl and Ander Zabala. I was in a second cast, performing
Cyril’s role, with two other men and one woman. And then we have another former
Hubbard Street dancer here, Mario Zambrano, helping with One Flat Thing, reproduced,
which Cyril and Amancio also danced, so I’ve brought all three of them in to help me with
that piece, since it’s quite a…complicated monster. [Laughs] Thomas McManus, who’s an
original cast member for Quintett, was here before and he’s returned to work on restaging
that piece. And then of course Bill is overseeing everything.
What was the first step of the staging process?
We started by workshopping some of the ideas in these pieces with the dancers, giving
them improvisational tasks, just to get a sense of who these characters we had in the
room were, which qualities they were bringing to the table, so to speak, which ideas they
were connecting to, how they had situated themselves in their bodies, and how they were
responding to the work.
What did you notice?
Everyone was super engaged — I really could feel how excited everyone was to begin work
on this program, which was great energy to walk into, this sense of their eagerness to dig
right in. I noticed that they were great working as a team, and how much they wanted to
experience these things together. These dancers are very aware of themselves, not just
individually, but as a group. Their skill at unison — which is so…innate: We’ve almost had
to work against that, in order to serve what these pieces require. Anyone’s movement
material is absolutely interdependent with everyone else’s, just not in that particular way of
unison. Each role carries a lot of individual responsibility. Bill used to say, “You should see
yourself as a conductor as well as part of the orchestra.”
What unique challenges or rewards are presented by staging Forsythe’s work?
In the teaching stage, I would say, those come from encouraging an environment in which
everyone can take a proactive stance toward learning the work, so that in the learning, it
has as much as possible that feel of creating — of creation — as opposed to the dancers
feeling like their roles are to think, “I go here, and then I go there, and then I do that.
That’s my role.” In a piece like One Flat Thing, reproduced, the dancers have to take
initiative in order to set the right tone for the work and, unfortunately, a lot of dancers get
used to just being told what to do. Rather than being “choreographically motivated,” you
might say, work like this really has to be functional.
How does one succeed in creating that
environment?
So, One Flat Thing, reproduced was inspired
in part by the Robert Scott expeditions [to
the South Pole] and I think particularly the
question of whether they were a failure,
or a success. This is a strong theme in the
work, along with the theme, simply, of doing
work; it was made during a time when Bill
was really starting to name, to define, his
methods of improvisation. The tables, it
was suggested at one point, could be thought of as icebergs, as in, “Your approach to every
decision puts you between life and death. Where exactly you put your hand is important,
because, if it’s half an inch too far to the left, or to the right, that means failure, and failure
means death.” Which generates a real sense of urgency, of accuracy, of precision. At one
point we were asked to imagine our legs being frostbitten, which demanded we take much
more weight into our upper bodies, and really push against these tables — these “icebergs”
— with our hands and arms, which takes a lot of strength. The tables are obstacles, and so
challenging to work with. Your tables are fantastic, actually — their edges are much softer,
much rounder. We just got all sorts of bruises and little injuries from our tables, which had
incredibly sharp edges. [Laughs] It was a rite of passage.
How different does it feel to be a dancer inside “the world of N.N.N.N.,” versus
One Flat Thing, reproduced?
I should first clarify that I was not part of the process of creating N.N.N.N. as Amancio
and Cyril were. In fact, I might have been back here at Hubbard Street, choreographing for
Hubbard Street 2; I jumped into that quartet after I got back to Germany. That piece, which
is more of a study, is so, so challenging in that you’re working directly with the weight of
your limbs, as well as the weight of the limbs of the other dancers, in both active and passive
ways, which you are asked to switch on and off, constantly. In one moment you have to give
your weight to another dancer, let them feel it and manipulate it — let them literally move
your body for you — and then be the leader, be the active person, bringing manipulation to
someone else. Sometimes you’re doing both simultaneously, with different parts of the body,
which can get your brain all kinds of tangled up. [Laughs] In order for N.N.N.N. to work, you
really have to conceive of yourself as an instrument, making movement and making sound;
for me, the experience came close at times to synesthesia, actually. It’s not really an aesthetic
piece. Ideally you’re not “showing” anything. It’s more experiential, about doing things
authentically, so that those experiences can be seen for what they are.
Which of those roles comes more naturally to you? Conductor-manipulator,
or being the person who’s acted upon?
Oh, conductor-manipulator, for sure. [Laughs] It was very challenging to find the true
mechanics of release, relaxation, and swing.
Hubbard Street alumnus Mario Zambrano, foreground, rehearses One Flat Thing, reproduced by William Forsythe with, from left,
Ayman Aaron Harper, Hubbard Street 2 Dancer Adrienne Lipson, and main company member Alice Klock. Photo by Todd Rosenberg.
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Fall Series 2015
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William Forsythe
Raised in New York and initially trained in Florida with
Nolan Dingman and Christa Long, William Forsythe danced
with the Joffrey Ballet and later the Stuttgart Ballet,
where he was appointed Resident Choreographer in 1976.
Over the next seven years, he created new works for the
Stuttgart ensemble and ballet companies in Munich, the
Hague, London, Basel, Berlin, Frankfurt am Main, Paris,
New York and San Francisco. In 1984, he began a 20-year
tenure as director of Ballett Frankfurt, where he created
works such as Artifact (1984), Impressing the Czar (1988),
Limb’s Theorem (1990), The Loss of Small Detail (1991, in
collaboration with composer Thom Willems and designer
Issey Miyake), A L I E / N A (C) T I O N (1992), Eidos:Telos
(1995), Endless House (1999), Kammer/Kammer (2000)
and Decreation (2003).
After the closure of Ballett Frankfurt in 2004,
Forsythe established a new, more independent ensemble.
The Forsythe Company, founded with the support of the
German states of Saxony and Hesse, the cities of Dresden
and Frankfurt am Main, and private sponsors, is based in
Dresden and Frankfurt am Main and maintains an extensive, international touring schedule. Works produced by the
new ensemble include Three Atmospheric Studies (2005), You made me a monster (2005), Human Writes (2005),
Heterotopia (2006), The Defenders (2007), Yes we can’t (2008–10), I don’t believe in outer space (2008), The
Returns (2009) and Sider (2011). Forsythe’s most recent works are developed and performed exclusively by The
Forsythe Company, while his earlier pieces are prominently featured in the repertoires of virtually every major ballet
company in the world, including the Mariinsky Ballet, New York City Ballet, San Francisco Ballet, the National Ballet
of Canada, London’s Royal Ballet and the Paris Opéra Ballet.
Awards received by Forsythe and his ensembles include four New York Dance and Performance “Bessie” Awards
(1988, 1998, 2004, 2007) and three Laurence Olivier Awards in the U.K. (1992, 1999, 2009). Forsythe has been
conveyed the title of Commandeur des Arts et Lettres (1999) by the government of France and has received the German
Distinguished Service Cross (1997), the Wexner Prize (2002) the Golden Lion of the Venice Biennale (2010), the Samuel H.
Scripps / American Dance Festival Award for Lifetime Achievement (2012) and the Swedish Carina Ari Medal (2014).
Forsythe has been commissioned to produce architectural and performance installations by architect-artist Daniel
Libeskind (Groningen, 1989), ARTANGEL (London, 1997), Creative Time (New York, 2005), and the SKD–Staatliche
Kunstsammlungen Dresden (2013 and 2014). These “Choreographic Objects” — as Forsythe calls his installations —
include among others White Bouncy Castle (1997), City of Abstracts (2000), The Fact of Matter (2009), Everywhere
and Nowhere at the Same Time No. 2 (2013) and Black Flags (2014). His installation and film works have been
presented in numerous museums and exhibitions, including the Whitney Biennial (New York, 1997), Festival d’Avignon
(2005, 2011), the Louvre Museum (2006), Pinakothek der Moderne in Munich (2006), 21_21 Design Sight in Tokyo
(2007), the Wexner Center for the Arts in Columbus (2009), Tate Modern (London, 2009), the Hayward Gallery,
(London 2010), MoMA (New York 2010), ICA Boston (2011) and the Venice Biennale (2005, 2009, 2012, 2014).
In collaboration with media specialists and educators, Forsythe has developed new approaches to dance
documentation, research and education. His 1994 computer application Improvisation Technologies: A Tool for the
Analytical Dance Eye, developed with the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM), is used as
a teaching tool by professional companies, dance conservatories, universities, postgraduate architecture programs,
and secondary schools worldwide. 2009 marked the launch of “Synchronous Objects for One Flat Thing,
reproduced,” a digital online score developed with the Ohio State University revealing the organizational principles
of the choreography and demonstrating potential applications within other disciplines. “Synchronous Objects” was
the pilot project for Forsythe’s Motion Bank, a research platform focused on the creation and research of online
digital scores in collaboration with guest choreographers.
As an educator, Forsythe is regularly invited to lecture and give workshops at universities and cultural
institutions. In 2002, Forsythe was chosen as one the founding Dance Mentors for the Rolex Mentor and Protégé
Arts Initiative. Forsythe is an Honorary Fellow at the Laban Centre for Movement and Dance in London and holds
an Honorary Doctorate from the Juilliard School in New York City. Forsythe is currently Professor of Dance and
Artistic Advisor for the Choreographic Institute at the University of Southern California’s Glorya Kaufman School
of Dance and in 2015 was appointed Associate Choreographer with the Paris Opéra Ballet.
William Forsythe. Photo by Dominik Mentzos.
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Fall Series 2015
Thank you to our Season 38
Media and Radio Sponsors
Hubbard Street Dancer Emilie Leriche. Photo by Todd Rosenberg.
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STAGING TEAM
Cyril Baldy (Staging Artist) studied ballet at the Conservatoire National Supérieur de
Musique et de Danse de Paris in his native France. He then worked professionally with the
Jeune Ballet de France, Nederlands Dans Theater 2 and NDT 1, and William Forsythe’s Ballett
Frankfurt before continuing as a member of The Forsythe Company from 2005–14. He has
since led numerous classes and workshops, developed his own choreography, and staged
works by William Forsythe internationally. Co-creator of his own art-direction company, Sad,
Baldy has also modeled for Maison Martin Margiela, H&M, Minä Perhonen and Bernhard
Willhelm. Visit sadfornoreason.com to learn more.
Stephen Galloway (Costume Design) currently works worldwide as a choreographer and
creative consultant for image-makers and brands. In addition to his 25-year career as a ballet
and dance theater performer, Galloway has been active across numerous related fields such
as costume design, fashion photography, magazine publishing, and music. In 1997 he was
invited to act as creative consultant for Mick Jagger, and has continued working with the
Rolling Stones as an advisor ever since, on video productions, TV appearances and concerts,
the Bridges of Babylon and Bigger Bang tours, and Shine a Light, Martin Scorcese’s 2008
documentary on the band. During his time as principal dancer at Ballett Frankfurt under
William Forsythe’s direction, from 1985–2004, Galloway also collaborated with Jan Fabre, Christian Moeller,
Jan Lauwers of Needcompany and others, and he served as Ballett Frankfurt’s head costume designer and style
coordinator from 1998 until the company’s closure in 2004. Companies whose productions include Galloway’s
designs include American Ballet Theatre, the Mariinsky Ballet, the Paris Opera Ballet, the Scottish Ballet, and
the Finnish National Ballet, and he has received two New York Dance and Performance “Bessie” Awards for his
costumes. He has staged fashion shows for design houses including Yves Saint Laurent, Costume National, Versace,
and Issey Miyake, where he was creative director from 1993–97; and he has served as consultant to luxury brands
including Mercedes-Benz and Saab. Achievements in Galloway’s career as a musician include releasing the albums
From This Day On (2002) and The Return of Lubrious (2009). Visit thecollectiveshift.com to learn more.
Amancio Gonzalez (Staging Artist) began dancing at age 20 in Bilbao, Spain, at the studios
of Ballet Ion Beitia, and continued his studies in France at the Ecole Supérieure de Danse de
Cannes Rosella Hightower, with José Ferran, Daniel Frank and Rosella Hightower, among others.
At age 24 he began his professional career, performing in Glasgow with the Scottish Ballet,
under the artistic direction of Galina Samsova; in South Africa with NAPAC Dance Company;
and in the Netherlands with De Rotterdamse Dansgroep, Reflex Dance Company, and Scapino
Ballet Rotterdam. Gonzalez then relocated to Germany to join William Forsythe’s Ballett
Frankfurt, continuing with The Forsythe Company through its 2014–15 season. He remains
active as a ballet master, repetiteur, and instructor for Forsythe repertory and Improvisation Technologies workshops.
Ayman Aaron Harper (Staging Artist) was born in Houston, Texas in 1979 and trained in
dance, choreography and gymnastics at Bay Area Houston Ballet and Theatre, while attending
the High School for the Performing and Visual Arts. Harper began working professionally with
Hubbard Street 2 at age 17 and, in 1999, joined Nederlands Dans Theater 2. Harper then
worked as a dancer, stager and guest choreographer for William Forsythe at Ballett Frankfurt,
beginning in 2001. Further developing his voice as an artist and choreographer, Harper
has created works on The Forsythe Company, HS2 and NDT 2, Deutsches Nationaltheater,
Bayerisches Staatsballett II and other companies, in addition to numerous university dance
departments. His works draw from multiple creative media and include community-based projects, musical theater
productions of West Side Story and Hair, and site-specific installations for unconventional dance spaces such
as Rocket Park at NASA’s Space Center Houston. His many collaborators have included musicians Arto Lindsay
and Matmos, Alexander Ekman, Ivan Liska, Pierre Pontvianne, Tino Sehgal, Richard Siegal, and Mario Alberto
Zambrano. Currently based in Berlin, Germany, Harper is a freelance choreographer, dancer, staging artist, teacher,
and guest professor at the Performing Arts Research and Training Studios (PARTS) in Brussels.
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Fall Series 2015
FALL SERIES
Thomas McManus (Staging Artist), recognized as an expert on the repertory, technique,
and improvisational methods of William Forsythe, is a native of Illinois and began studying
dance at age 16, at North Carolina School of the Arts. In 1986, after dancing with American
Ballet Theatre 2, Finis Jhung’s Chamber Ballet USA, and Ann Marie D’Angelo and Dancers,
McManus joined Ballett Frankfurt, participating in nearly all of the new works created by
Forsythe over the next 13 years. In addition to his extensive collaborations with Forsythe,
McManus has also worked with numerous choreographers including Jan Fabre, Susan
Marshall, Amanda Miller, Ohad Naharin, Stephen Petronio, Sara Rudner, William Soleau,
Saburô Teshigawara, and Twyla Tharp; his own choreography has been presented internationally, at the Gran Teatre
del Liceu in Barcelona, the Folksoperan in Stockholm, Germany’s Nationaltheater Mannheim, Oper Heidelberg,
and Ballett Company Ulm. Co-founder with Nik Haffner of the performance group “commerce,” McManus
holds an MFA in Dance from Hollins University Roanoke, has studied Pilates and Gyrokinesis, and has taught
at the Interlochen Arts Academy, Ménagerie de Verre in Paris, Kiev Ballet at the National Opera of Ukraine,
Deutsches Institut für Tanzpädagogik in Berlin, the San Francisco Conservatory of Dance, the University of Illinois
at Champaign–Urbana, and the English National Ballet School in London. He recently joined the faculty of the
University of Southern California’s Glorya Kaufman School of Dance.
Mario Alberto Zambrano (Staging Artist) began dancing at age ten at the Houston Ballet
Academy and the High School for Performing and Visual Arts in Houston. His ten-year career
in contemporary dance began at Hubbard Street, when he was invited by Lou Conte to join
the main company at age 17. He went on to perform with Nederlands Dans Theater, William
Forsythe’s Ballett Frankfurt, and Batsheva Dance Company, was awarded a Presidential
Scholar Award in 1994, and a Princess Grace Award in 1995. Transitioning to his writing
career, Zambrano earned an MFA as an Iowa Arts Fellow at the Iowa Writers’ Workshop
in 2013, where he also received a John C. Schupes Fellowship for Excellence in Fiction. His
first novel, Lotería, published by HarperCollins, was a Barnes & Noble Discover Great New Writers selection for
fall 2013, and a finalist in 2014 for the Writers’ League of Texas Book Award, as well as the 2014 Texas Institute
of Letters Book Award. Lotería was hailed among the best books of 2013 by Booklist, The Village Voice, and
the School Library Journal. The recipient of artist fellowships and residencies at MacDowell Colony and Yaddo,
Zambrano was also invited to a month-long stay at Hawthornden Castle in Scotland. He is currently working on
another novel about a dancer who loses his memory. Visit marioalbertozambrano.com to learn more.
Thom Willems (Composer) creates music predominantly for ballet, since 1985 with
choreographer William Forsythe, until 2004 at Ballett Frankfurt and, beginning in 2005, with
The Forsythe Company. Their ongoing collaboration has produced more than 65 original works
to date including In the Middle, Somewhat Elevated (1987) and Impressing the Czar (1988),
The Loss of Small Detail (1991), Limb’s Theorem (1990), A L I E / N A (C) T I O N (1992),
Eidos: Telos (1995), One Flat Thing, reproduced (2000), Sider (2011), and Study #3 (2013);
and their short film Solo was included in the 1997 Whitney Biennial. Through performances
of these and other works, Willems’ music has been presented by 66 ballet companies in
25 countries, such as the Bolshoi and Mariinsky in Russia, the National Ballet of Canada, the Paris Opéra Ballet
and the Ballet de l’Opéra de Lyon, Italy’s Teatro alla Scala, London’s Royal Ballet, the Wiener Staatsoper, Semper
Oper Dresden, New York City Ballet, and San Francisco Ballet. Fashion designers Issey Miyake and the late Gianni
Versace have featured Willems’ music, and it was performed at the opening of the Tate Modern museum in 2000.
In 2007, Willems became involved with Miyake and architect Tadao Ando’s 21_21 Design Sight in Tokyo and, in
2008, he contributed to The Morning Line, an installation by artist Matthew Ritchie for El Museo de Arte ThyssenBornemisza in Madrid.
Photos of Cyril Baldy and Amancio Gonzalez by Dominik Mentzos. Photos of Ayman Aaron Harper, Thomas McManus, and Mario
Alberto Zambrano by Todd Rosenberg. Photo of Stephen Galloway by Inez van Lamsweerde and Vinoodh Matadin. Photo of Thom
Willems by Jodokus Driessen.
17
About Hubbard Street
Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich,
engage, educate, transform and change lives through the experience of dance. Celebrating its 38th
season in 2015–16, Hubbard Street continues to be an innovative force, supporting its creative talent
while presenting repertory by major international artists.
Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio at LaSalle and Hubbard
Streets in 1977, when Lou Conte gathered an ensemble of four dancers to perform in senior centers
across Chicago. Barbara G. Cohen soon joined the company as its first Executive Director. Conte
continued to direct the company for 23 years, during which he initiated and grew relationships with
both emerging and established artists including Nacho Duato, Daniel Ezralow, Jiří Kylián, Ohad
Naharin, Lynne Taylor-Corbett and Twyla Tharp.
Conte’s successor Jim Vincent widened Hubbard Street’s international focus, began Hubbard Street’s
collaboration with the Chicago Symphony Orchestra and cultivated growth from within, launching the
Inside/Out Choreographic Workshop and inviting Resident Choreographer Alejandro Cerrudo to make
his first work. Gail Kalver’s 23 years of executive leadership provided continuity from 1984 through the
2006–07 season, when Executive Director Jason Palmquist joined the organization.
Glenn Edgerton became Artistic Director in 2009 and, together with Palmquist, moved this legacy
forward on multiple fronts. Inside/Out is now part of a broader strategy for building new repertoire,
the Choreographic Development Initiative, which aims to be a national model for artistic development
while proactively diversifying contemporary dance.
The main company’s members comprise one of the only ensembles in the U.S. to perform all year
long, domestically and around the world, while four nationally renowned Summer Intensive Programs
bring young artists into its ranks. Hubbard Street 2, its second company for early-career artists, was
founded in 1997 by Conte and Julie Nakagawa. Now directed by Terence Marling, HS2 cultivates
young professional dancers, identifies next-generation choreographers, and performs domestically and
abroad in service of arts education, collaboration, experimentation and audience development.
Hubbard Street’s Youth, Education and Community Programs are national benchmarks for partnership,
dance education and urban school research. In 2008, the Parkinson’s Project became the first dance
class in the Midwest for those affected by Parkinson’s disease and, with The Autism Project pilot in
2014, it’s now part of Hubbard Street’s growing Adaptive Dance Programs. Youth Dance Programs for
students ages 18 months to 18 years emphasize creative expression and are offered year-round at the
Hubbard Street Dance Center.
At the Lou Conte Dance Studio — where Hubbard Street began in 1974 — workshops and master
classes allow access to expertise, while a broad variety of weekly classes offer training at all levels in
jazz, ballet, modern, tap, African, hip-hop, yoga, Pilates® and dance fitness.
Visit hubbardstreetdance.com to learn more.
Partnerships with the Museum of Contemporary Art Chicago and other institutions keep Hubbard
Street deeply connected to its hometown. To the company’s repertoire, Edgerton has extended
relationships with its signature choreographers while adding significant new voices such as Kyle
Abraham, Mats Ek, Sharon Eyal, Alonzo King and Victor Quijada.
Claire Bataille, left, and Ginger Farley in
Case Closed by Lynne Taylor-Corbett,
1986. Photo by Jennifer Girard.
Isaac Spencer, left, and Erin Derstine in Float
by Julian Barnett, 2006. Photo by Todd Rosenberg.
Above left: Frank Chaves and Leslie Stevens in Mae by Richard Levi, 1987.
Archival photo.
Above right: Hubbard Street 2 in The 40s by Lou Conte, 2003. Archival photo.
Choreographer Mats Ek, left,
rehearses Quinn B Wharton in Casi-Casa,
2012. Photo by Todd Rosenberg.
18
Center: Tobin Del Cuore, left, and Cheryl Mann in Gimme
by Lucas Crandall, 2004. Photo by Todd Rosenberg.
Shannon Alvis, left, and Terence Marling in Extremely Close
by Alejandro Cerrudo, 2008. Photo by Todd Rosenberg.
Fall Series 2015
Ron De Jesús, left, Krista Ledden and Ensemble in I Remember Clifford
by Twyla Tharp, 1996. Photo by Ruedi Hofmann.
19
STAFF PROFILES
Glenn Edgerton (Artistic Director) joined Hubbard Street Dance Chicago after an international career as a dancer
and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the
mentorship of Robert Joffrey. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he
danced for five years. He retired from performing to become its artistic director, leading NDT 1 for a decade and
presenting the works of Jiří Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato,
Jorma Elo, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn
Dance Institute at the Colburn School of Performing Arts in Los Angeles. Edgerton joined Hubbard Street as
associate artistic director in 2008; since 2009 as artistic director, he has built upon more than three decades of
leadership in dance performance, education and appreciation established by founder Lou Conte and continued by
Conte’s successor, Jim Vincent.
Jason D. Palmquist (Executive Director) joined Hubbard Street Dance Chicago in May 2007, after serving the
arts community in Washington, D.C. for nearly 15 years. Palmquist began his career at the John F. Kennedy Center
for the Performing Arts, completing his tenure there as vice president of dance administration. At the Kennedy
Center, he oversaw multiple world-premiere engagements of commissioned works in dance, the formation and
growth of the Suzanne Farrell Ballet and the inception in 1997 of the Millennium Stage, an award-winning, free
daily performance series that to date has served more than 3 million patrons. Deeply enriching the Kennedy
Center’s artistic programming, Palmquist successfully presented engagements of global dance companies
including the Royal Ballet, Alvin Ailey American Dance Theater, the Kirov Ballet, Paul Taylor Dance Company,
American Ballet Theatre and New York City Ballet. Palmquist also managed the Kennedy Center’s television
initiatives, including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC
memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of executive
director at the Washington Ballet. Under his leadership, the company presented full performance seasons annually
at the Kennedy Center and the Warner Theater, and nurtured its world-renowned school and extensive education
and outreach programs. A graduate of the University of Northern Iowa, Palmquist currently serves on the boards
of the Arts Alliance of Illinois and the Harris Theater for Music and Dance.
Karena Fiorenza Ingersoll (General Manager) brings more than a decade of experience to Hubbard Street as
a leader, fundraiser and producer in the performing arts. Most recently, she served as the associate managing
director of Berkeley Repertory Theatre in California, where she line-produced and managed all new play
development efforts, shepherding 30% growth in capacity. Previous tenures include executive director of
contemporary dance company Robert Moses’ Kin (San Francisco, CA), associate managing director of Yale
Repertory Theatre (New Haven, CT), management fellow during ArtsEmerson’s inaugural presenting year (Boston,
MA), annual fund manager at Aurora Theatre (Berkeley, CA), and international experience in Mexico City working
for a nonprofit humanitarian group. While in the Bay Area, Fiorenza Ingersoll was secretary and then president
of the Berkeley Cultural Trust and a proud member of the Bay Area Latino Theatre Artists Network. She is also a
freelance arts management strategist and artist representative, partnering with individual artists and ensembles
whose work gives voice to underrepresented stories and perspectives. Recognized nationally, Fiorenza Ingersoll
was invited in 2014 by Theatre Communications Group to be part of its SPARK Leadership Program’s inaugural
class. She holds two bachelor’s degrees from the University of California at Berkeley and an MFA in Theater
Management from Yale University.
Terence Marling (Director, Hubbard Street 2), born and raised in Chicago, Illinois, trained at the Ruth Page
School of Dance with renowned ballet teacher Larry Long. Following his professional work with Patricia Wilde
and Terrence S. Orr at Pittsburgh Ballet Theatre, and at Germany’s Nationaltheater Mannheim with director
and choreographer Kevin O’Day, Marling became a member of Hubbard Street Dance Chicago. During 16 years
onstage, he performed works by George Balanchine, Nacho Duato, Johan Inger, Jiří Kylián, Ohad Naharin, Paul
Taylor, Glen Tetley and others, originating numerous roles. Beginning in 2010 as Hubbard Street Rehearsal
Director, Marling taught, coached and maintained works and premieres by Resident Choreographer Alejandro
Cerrudo, Duato, Naharin, Aszure Barton, Mats Ek, William Forsythe, Alonzo King, Susan Marshall, Victor Quijada
and Twyla Tharp. Marling’s own creations have been performed by Pittsburgh Ballet Theatre as well as both of
Hubbard Street’s ensembles, and he co-choreographed with Robyn Mineko Williams the company’s first familyoriented production, Harold and the Purple Crayon: A Dance Adventure. Marling became Director of Hubbard
Street 2 in April 2013.
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Fall Series 2015
HUBBARD STREET DANCE CHICAGO
Lucas Crandall (Rehearsal Director) began his dance career with the Milwaukee Ballet in 1979. In 1980, he joined the
Ballet du Grand Théâtre de Genève, then directed by Oscar Aráiz. Under the direction of Jiří Kylián, he danced with
Nederlands Dans Theater for two years before returning to Geneva, as soloist and later rehearsal assistant, under the
direction of Gradimir Pankov. Crandall has performed and originated roles in works by notable choreographers including
Aráiz, Kylián, Christopher Bruce, Nacho Duato, Mats Ek, Rui Horta, Amanda Miller and Ohad Naharin. In 2000,
Crandall returned to the U.S. to join Hubbard Street Dance Chicago, as associate artistic director and staff at the Lou
Conte Dance Studio. His teaching and coaching career includes residencies at various U.S. universities; master classes
and repertory workshops, both domestically and abroad; and guest positions at companies including Les Ballets Jazz de
Montréal, Northwest Professional Dance Project, and the Ballet du Grand Théâtre de Genève. Crandall’s choreographic
work includes multiple premieres for Hubbard Street (Atelier, Gimme, The Set) and new works for Northwest Dance
Project and Thodos Dance Chicago. Crandall was recently rehearsal director for Nederlands Dans Theater’s main
company for three years, under the directorships of Paul Lightfoot and former Hubbard Street Artistic Director Jim
Vincent. Crandall returned to Hubbard Street as Rehearsal Director in April 2013.
Kathryn Humphreys (Director, Youth, Education and Community Programs) joined Hubbard Street in 2002. She
develops and implements dance education initiatives designed to improve teacher and teaching-artist practice and
collaboration, to effect whole-school change and further the field’s understanding of the role of dance in public
education. She oversees program development, implementation, and management of all of Hubbard Street’s inschool and community initiatives. With more than two decades of experience in arts education, her work supports
local and national groups and, under her direction, the department has engaged in a series of in-depth research
initiatives, contributing unique knowledge and assessment tools to the field, many of which have been widely
published. Humphreys launched Hubbard Street Youth Dance Programs in 2007, connecting the choreographic
process curricula Hubbard Street pioneered in schools with training in traditional dance techniques, for a unique and
diverse slate of classes currently serving more than 1,000 students per year. The department’s Family Workshop
Series brings generations together through dance, while Hubbard Street’s innovative Adaptive Dance Programs
expand movement opportunities for Chicagoans with physical and mental disabilities. Humphreys consults locally and
nationally on issues related to dance education, and holds an MA in Dance from Texas Woman’s University.
Claire Bataille (Director, Lou Conte Dance Studio) was a founding dancer with Hubbard Street from 1977 to 1992,
performing works created by Lou Conte, Twyla Tharp, Lynne Taylor-Corbett, Daniel Ezralow, John McFall and Margo
Sappington. She received the Ruth Page Award for Outstanding Dancer in 1992. From 1977 to 2001, Bataille also
served the company as Assistant Artistic Director, Ballet Mistress and Rehearsal Director. She choreographed five
works between 1978 and 1985 and toured nationally and internationally with Hubbard Street. Bataille began teaching
at the Lou Conte Dance Studio in 1975 and has been teaching dance in Chicago ever since. In 2003, she earned her
certification in the Pilates Method with Romana’s Pilates in New York. In 2005, Bataille was appointed Associate
Director of the Lou Conte Dance Studio at the Hubbard Street Dance Center and became its Director in 2008.
Suzanne Appel (Director of External Affairs) joined Hubbard Street in August 2015 following a decade of arts
leadership roles with an emphasis on business development, revenue generation, and producing the work of formchallenging artists. Most recently she served as managing director of The Cutting Ball Theater in San Francisco,
where she nearly doubled the organization’s operating budget and built a two-plus month operating reserve in
four years. Her previous roles include director of individual giving at Dance Theater Workshop in New York City,
associate managing director at Yale Repertory Theater in New Haven, management fellow at Berkeley Repertory
Theater, and assistant director of the annual fund at Wesleyan University. While in San Francisco, she served on
the board of the Tenderloin Community Benefit District. Appel maintains a freelance practice as a financial and
strategic management consultant for arts organizations, holds an MBA from Yale School of Management, an MFA
in Theater Management from Yale School of Drama, and a BA from Wesleyan University.
21
STAFF PROFILES
Chicago Dancers United
presents
Lou Conte (Founder), after a performing career that included roles in Broadway musicals such as Cabaret, Mame
and How to Succeed in Business Without Really Trying, established the Lou Conte Dance Studio in 1974. Three
years later, he founded what is now Hubbard Street Dance Chicago. Originally the company’s sole choreographer, he
developed relationships with emerging and world-renowned dancemakers Lynne Taylor-Corbett, Margo Sappington
and Daniel Ezralow as the company grew. Conte continued to build Hubbard Street’s repertoire by forging a key
relationship with Twyla Tharp in the 1990s, acquiring seven of her works as well as original choreography. It then
became an international enterprise with the inclusion of works by Jiří Kylián, Nacho Duato and Ohad Naharin.
Throughout his 23 years as the company’s artistic director, Conte received numerous awards including the first Ruth
Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in 1995, and a Chicagoan
of the Year award from Chicago magazine in 1999. In 2003, Conte was inducted as a laureate into the Lincoln
Academy of Illinois, the state’s highest honor, and in 2014, was named one of five inaugural recipients of the City of
Chicago’s Fifth Star Award. He has been credited by many for helping raise Chicago’s international cultural profile and
for creating a welcoming climate for dance in the city, where the art form now thrives.
Hubbard Street Dancer Ana Lopez in Quintett by William Forsythe. Photo by Todd Rosenberg.
C
M
Y
CM
MY
CY
CMY
K
ANNIVERSARY
Saturday, August 20, 2016
Auditorium Theatre of Roosevelt University
DanceForLifeChicago.org
22
Fall Series 2015
/DanceForLifeChicago
@danceforlifechi
/DanceForLifeChicago
2015–16 DANCER PROFILES
Jesse Bechard (Bolton, MA) began his formal ballet training at age 16, graduated
from Walnut Hill School for the Arts, and attended training programs at Boston
Ballet, Alonzo King LINES Ballet and Ballet Austin. In 2000, having completed
his freshman year at the University of Chicago, he returned to dance, performing
for one year with Ballet Austin and for eight with Richmond Ballet. Bechard
joined Hubbard Street in August 2010.
Jacqueline Burnett (Pocatello, ID) received classical ballet training in Pocatello,
Idaho from Romanian ballet master Marius Zirra, with additional summer training
at Ballet Idaho, Brindusa-Moore Ballet Academy, the Universal (Kirov) Ballet
Academy, the Juilliard School and the San Francisco Conservatory of Dance.
She graduated magna cum laude with departmental honors from the Ailey
School and Fordham University’s joint program in New York City in 2009, while
an apprentice with Hubbard Street. She was promoted to the main company in
August 2009 and is a 2011–12 Princess Grace Honorarium recipient.
Alicia Delgadillo (Charlotte, NC) began her classical training at the Susan
Hayward School of Dance in San Francisco, California, and continued her
studies in North Carolina with Gay Porter and Bridget Porter Young at the
Charlotte School of Ballet. In 2004, Delgadillo began studying full time with
Daniel and Rebecca Wiley at Piedmont School of Music and Dance. She has
attended summer programs at Hubbard Street, the Juilliard School, San Francisco
Conservatory of Dance, and Springboard Danse Montréal. Delgadillo graduated
with honors from the Ailey School and Fordham University’s joint program in
New York City in 2012, while a member of Hubbard Street 2, and was promoted
to the main company in April 2014.
Jeffery Duffy (Adamsville, GA) began dancing at age three and attended the
Cobb County Center for Excellence in the Performing Arts at Pebblebrook High
School in Mableton, Georgia; Talent Unlimited High School; and the Juilliard
School in New York City. He has performed with the Juilliard Dance Ensemble at
Lincoln Center and the Chicago Dancing Festival, and as a guest artist with Dance
Theatre of Harlem. At the McCallum Theatre Institute’s 2013 Choreography
Festival, Duffy and Alexander Jones received the Division I Second Place Prize
for their original work, Open it to Speak; Duffy is also the recipient of an Alan D.
Marks Entrepreneurship Grant, and winner of the Robert and Mercedes Eichholz
Arts Entrepreneurship Prize. He joined Hubbard Street in August 2015.
Kellie Epperheimer (Los Osos, CA) began her dance training in 1988 at the
Academy of Dance and Civic Ballet of San Luis Obispo, and attended training
programs at the Joffrey Ballet School and the Juilliard School in New York City.
A founding member of Cedar Lake Ensemble (later Cedar Lake Contemporary
Ballet), she joined Hubbard Street 2 in January 2005, and was promoted to the
main company in January 2007.
24
Fall Series 2015
Michael Gross (Poughquag, NY) earned a BFA in Dance from the University
of Arizona and received much of his early training from Colorado Jazz Dance
Company in Colorado Springs, followed by further studies at the American
Academy of Ballet and Springboard Danse Montréal. Formerly a member of River
North Dance Chicago and Visceral Dance Chicago, Gross has also performed with
Elements Contemporary Ballet and in the Chicago Symphony Orchestra’s holiday
production, Welcome Yule! Gross joined Hubbard Street in August 2014 and
thanks his friends and family for their love and support.
Jason Hortin (Olympia, WA) graduated from the University of Nevada, Las Vegas
with a BFA in Dance under the direction of Louis Kavouras. His performance
career includes work with Moving People Dance Theatre, Erick Hawkins Dance
Company and River North Dance Chicago. Hortin joined Hubbard Street as an
apprentice in August 2007 and was promoted to the main company in July 2008.
Alice Klock (Whidbey Island, WA) began dancing at age 11. She trained at
Interlochen Arts Academy from 2003–07, and in Alonzo King LINES Ballet and
Dominican University of California’s joint BFA program from 2007–09. Klock
then joined Hubbard Street 2 in September 2009 and was promoted to the main
company in September 2011.
Emilie Leriche (Santa Fe, NM) began her dance training at the age of eight. In
2007 she began her formal dance training at Walnut Hill School for the Arts,
with additional summer study at Joffrey Midwest, Complexions Contemporary
Ballet and the San Francisco Conservatory of Dance. Leriche has performed
alongside the dancers of zoe | juniper, and at the WestWave Dance Festival as a
member of Maurya Kerr’s tinypistol. Leriche joined Hubbard Street 2 in 2011, was
promoted to the main company in 2013, was named one of Dance Magazine’s
“25 to Watch” for 2015, and is the recipient of a 2015 Dance Fellowship from the
Princess Grace Foundation–USA.
Florian Lochner (Frankenhardt, Germany) trained at Ballettschule Malsam
in Schwäbisch Hall, Germany, and the Staatliche Hochschule für Musik und
Darstellende Kunst in Mannheim, where he was the recipient of its Birgit Keil
Dance Foundation scholarship. Lochner earned his master’s degree in the
performing arts and joined Gauthier Dance Company in Stuttgart in 2011,
performing works by numerous choreographers including Mauro Bigonzetti, Jiří
Bubenířek, Alejandro Cerrudo, Alexander Ekman, Itzik Galili, Eric Gauthier, Marco
Goeke, Johan Inger, Jiří Kylián, Christian Spuck, Cayetano Soto, Philip Taylor,
Stephan Thoss, Paul Lightfoot and Sol León. He received a “Best of the Season”
nomination in Germany’s Dance for You! Magazine in September 2013, and
joined Hubbard Street in August 2015.
25
2015–16 DANCER PROFILES
Ana Lopez (A Coruña, Spain) began her formal training at Conservatorio de
Danza Diputacion de A Coruña. Upon graduating Isaac Diaz Pardo High School,
she continued her training at Centro Internacional de Danza Carmen Roche.
Prior to joining Hubbard Street in January 2008, Lopez danced with Joven Ballet
Carmen Roche, with Compañía Nacional de Danza 2 in works by Nacho Duato
and Tony Fabre, and at Ballet Theater Munich under the directorship of Philip
Taylor. She was named one of Dance Magazine’s “25 to Watch” for 2012.
Andrew Murdock (St. Albert, AB) is a graduate of the Juilliard School, from which
he received a BFA in Dance under the direction of Lawrence Rhodes. Prior to being
a regular collaborator with Aszure Barton & Artists, Murdock performed with
Gallim Dance and BJM Danse, formerly Les Ballets Jazz de Montréal. Additional
collaborators and colleagues include Cherice Barton, Joshua Beamish, Andy
Blankenbuehler, Nina Chung, Joe Lanteri, Austin McCormick, Michelle Mola, Abdel
Salaam and Edgar Zendejas. He has appeared at the Greenwich Music Festival,
with Zack Winokur, and with Geneviève Dorion-Coupal at Just for Laughs and
Le 400e Anniversaire de la Ville de Québec. As a rehearsal assistant to Aszure
Barton, he has worked with American Ballet Theatre, Canada’s National Ballet
School and Ballet BC, New York University, the Steps Ensemble, Arts Umbrella and
Springboard Danse Montréal. He joined Hubbard Street in 2013.
Kevin J. Shannon (Baltimore, MD) began dancing under the guidance of Lester
Holmes. He graduated from the Baltimore School for the Arts with additional
training at the School of American Ballet, Miami City Ballet School, Paul Taylor
Dance Company and Parsons Dance. He earned his BFA in 2007 at the Juilliard
School, toured nationally with the Juilliard Dance Ensemble and appeared in
the “Live from Lincoln Center” broadcast television special The Juilliard School:
Celebrating 100 Years. Shannon joined Hubbard Street in November 2007.
Jessica Tong (Binghamton, NY) received her formal training at the Ballet School
in Salt Lake City under Jan Clark Fugit, as well as at the University of Utah,
where she was a member of Utah Ballet. Tong danced with BalletMet in Ohio,
Eliot Feld’s Ballet Tech in New York City and with Hubbard Street 2 before joining
the main company in January 2007. She was named one of Dance Magazine’s
“25 to Watch” for 2009, and currently serves on Chicago Dancers United’s
Ambassador Committee for Dance for Life Chicago.
Hubbard Street Dancers Emilie Leriche, left, and Alicia Delgadillo rehearse N.N.N.N. by William Forsythe with original cast member Amancio Gonzalez.
Photo by Todd Rosenberg.
Penny Saunders (West Palm Beach, FL) graduated from the Harid Conservatory
in 1995. She then began her professional career with the American Repertory
Ballet under the direction of Septime Webre, danced with Ballet Arizona and
MOMIX, and was a founding member of Cedar Lake Contemporary Ballet (then
Cedar Lake Ensemble). In 2004, Saunders joined Hubbard Street, where she
began to pursue her choreographic interests, creating for Hubbard Street 2 in
2011 through its International Commissioning Project, and premiering her first
work for Hubbard Street’s main company in 2013. She has since choreographed
for the Nexus Project, Owen/Cox Dance Group, SFDanceworks, Whim W’Him,
Grand Rapids Ballet, and Neos Dance Theatre as a choreographer in residence
at the University of Akron. In 2015 Saunders returned to Hubbard Street’s main
company and began a three-year choreographic residency with Grand Rapids
Ballet. She thanks her lovely husband and beautiful son for all of their support.
David Schultz (Grand Rapids, MI) began training in Michigan with the School of
Grand Rapids Ballet, where he then performed for four seasons with its company,
Grand Rapids Ballet. Schultz joined Hubbard Street 2 in September 2009 and
was promoted to the main company in August 2011, and he is the recipient of a
2012 Princess Grace Award.
26
Fall Series 2015
27
2015–16 HS2 DANCER PROFILES
Katlin Michael Bourgeois (Gonzales, LA) began dancing in 2010 at various
studios in Louisiana including NOCCA (the New Orleans Center for the Creative
Arts) and A Touch of Class Performing Arts. After attending Alonzo King LINES
Ballet’s Summer Program in San Francisco in 2012, he accepted a full scholarship
to join the Alonzo King LINES Ballet Training Program, from which he graduated
in May 2014. Bourgeois has performed in works by numerous choreographers
including Andrew Brader, Sandrine Cassini, Lee-Wei Chao, Kara Davis, Gregory
Dawson, Maurya Kerr, Nikoloz Makhateli and Uri Sands. He joined Hubbard
Street 2 as an apprentice in August 2014 and was promoted to full company
member in August 2015.
Zachary Enquist (Plymouth, MN) began training at Summit School of Dance
in Plymouth, MN. He holds a BFA in Dance from SUNY–Purchase College in
New York, where he performed works by choreographers Doug Varone, Lar
Lubovitch, Stephen Petronio, Bill T. Jones and Merce Cunningham. Other training
includes summer studies at the Juilliard School, Movement Invention Project and
Springboard Danse Montréal, where he performed repertory by William Forsythe,
Stijn Celis and Robyn Mineko Williams. Enquist spent a semester abroad at Codarts
in Rotterdam, the Netherlands, and was an apprentice at Mark Morris Dance
Group. Enquist joined Hubbard Street 2 as a full company member in August 2014.
Elliot Hammans (Santa Fe, NM) began his formal dance training in 2008 with
Robert Sher-Machherndl and continued his ballet and modern dance education
with Moving People Dance in Santa Fe, NM, under the direction of Curtis
Uhlemann. Hammans joined Moving People Dance Company as an apprentice
in 2010, trained on full scholarship at the Alonzo King LINES Dance Center in
San Francisco, and attended Hubbard Street Dance Chicago’s 2011 and 2012
Summer Intensives. Following one season with Cherylyn Lavagnino Dance and
studies abroad at Austria’s Tanzzentrum SEAD (Salzburg Experimental Academy
of Dance), Hammans earned his BFA in Dance in 2014 from Tisch School of
the Arts at NYU. Choreographers whose work he has performed include Sean
Curran, Gail Gilbert, Crystal Pite, Kendra Portier and Nathan Trice. Hammans
joined Hubbard Street 2 as a full company member in August 2014.
Jade Hooper (Riverside, CA) began training under the direction of Clifford J.
Breland and Anthony Jackson at Bre Dance Studio, continuing at the California
Institute of the Arts (CalArts) and Alonzo King LINES Ballet’s Summer Program,
where she received its Homer Avila Scholarship Award. She earned her BFA in
dance with a minor in math and science from CalArts and joined Hubbard Street
2 as a full company member in August 2015.
28
Fall Series 2015
HUBBARD STREET 2
Natalie Leibert (Moorpark, CA) began training at various dance schools in
the Los Angeles area including company work with Westside Dance Project in
Redondo Beach, and Pacific Festival Ballet in Agoura Hills. She continued training
at the Miami City Ballet School and, most recently, completed a year in Alonzo
King LINES Ballet’s Training Program. Leibert has attended workshops and
programs at the San Francisco Conservatory of Dance, the Joffrey Ballet School,
the School of American Ballet, Pacific Northwest Ballet and the Juilliard School,
in addition to Nederlands Dans Theater and Batsheva Dance Company. She has
performed works by choreographers including Iratxe Ansa, Sandrine Cassini,
Jessie Hartley, Will Johnston, Menghan Lou and Carmen Rozestraten. Leibert
joined Hubbard Street 2 as an apprentice in August 2014 and was promoted to
full company member in August 2015.
Adrienne Lipson (London, ON) began her dance training in London, Ontario
under the tutelage of Jennifer Swan, and continued her studies at Ryerson
University, where she received a BFA with honors upon her graduation in spring
2013. While in Toronto, Lipson performed with Typecast Dance Company and
was a founding member of Rock Bottom Movement. Lipson attended the Proarte
Danza Summer Intensive and Kenny Pearl’s Emerging Artists Summer Intensive,
in addition to training programs at Hubbard Street Dance Chicago, LADMMI
(Montréal’s L’École de Danse Contemporaine), the Jacob’s Pillow Dance Festival
and Springboard Danse Montréal, where she performed works by choreographers
Aszure Barton, Barak Marshall and Robyn Mineko Williams. Lipson joined
Hubbard Street 2 as an apprentice in August 2013 and was promoted to full
company member in August 2014.
HS2 Apprentice Oscar Carrillo (San Jose, Costa Rica) began his artistic studies
at the Conservatorio de Castella in Heredia, majoring in visual arts with a minor
in dance. Carrillo then enrolled at Point Park University, where he received a BA
in ballet and jazz with a minor in business management, and has participated
in summer training programs at Complexions Contemporary Ballet, Hubbard
Street Dance Chicago, and Springboard Danse Montréal. Carrillo has worked
professionally with Texture Contemporary Ballet in Pittsburgh, RIOULT Dance NY
and Chicago Repertory Ballet, performing works by many choreographers including
Christopher L. Huggins, Garfield Lemonious, Darrell Grand Moultrie and David
Parsons, and joined Hubbard Street 2 as an HS2 Apprentice in August 2015.
HS2 Apprentice Christina Vargas (Bowie, MD) began her early training in
the Cecchetti technique of ballet under the guidance of Pamela Moore, and
continued her studies at Maryland Youth Ballet followed by two years in Alonzo
King LINES Ballet’s Training Program, from which she graduated in May 2015.
She also attended summer programs and workshops at the Alonzo King LINES
Dance Center, Cedar Lake Contemporary Ballet, and the Peridance Capezio
Center. Choreographers whose works Vargas has performed include Iratxe
Ansa, Sidra Bell, Sandrine Cassini, Gregory Dawson, Joanna Haigood, Maurya
Kerr, Jenny Stulberg and Liu Yi-feng. She joined Hubbard Street 2 as an HS2
Apprentice in August 2015.
29
LOU CONTE
founders society
THE LOU CONTE FOUNDERS SOCIETY recognizes individuals whose generosity and foresight provide
future gifts to Hubbard Street Dance Chicago through planned giving. Members of the Society receive
special invitations throughout the year and ongoing recognition of their commitment but, most
importantly, members have the deep satisfaction of supporting Hubbard Street’s future.
Including Hubbard Street Dance Chicago in your estate plans will:
S
upport the continued artistic growth of the company
B
ring the newest choreographic voices to the stage
n E
nrich the lives of students both in and out of the classroom
n Broaden and engage new audiences through Youth, Education and Community Programs
n Build our endowment to guarantee the future of Hubbard Street
n
n
Hubbard Street Dance Chicago is grateful to the following individuals who have included us
in their estate plans. Our future is more secure because of their generosity.
Meg and Tim Callahan
Josephine H. Deutsch*
Marge and Lew Collens
Edward and Gayla Nieminen
Richard L. Rodes
Sarah J. Nolan
James F. Oates
Edna K. Papazian*
Byron Pollock
Alyssa J. Rapp
Denise Stefan-Ginascol
and John Ginascol
Landon N. Stigall*
J. Randall White
*deceased
Notifying us of your commitment to Hubbard Street allows us to thank you today for your
future generosity. Please join the Lou Conte Founders Society and help ensure the future of
Hubbard Street Dance Chicago. For more information contact Kalena Chevalier, Associate Director of
Development, at kchevalier@hubbardstreetdance.com or call 312-850-9744 ext. 141.
If you have already included us in your estate plan, please let us know so you can enjoy the many benefits of the Lou Conte Founders Society.
Hubbard Street founder Lou Conte, center, founding member Claire Bataille, left, and former Rehearsal Director Monica Trogani rehearse
Conte’s The 40s for the company’s 25th anniversary season and tour, December 2003. Photo by Todd Rosenberg.
30
Fall Series 2015
31
Hubbard Street Dance Chicago gratefully acknowledges the support of the following corporations,
foundations, government agencies and individuals who made gifts to our Annual Fund between
September 1, 2014 and August 31, 2015.
ATHLETICO
CORPORATE SUPPORT
MARKS
HUBBARD STREET’S
CORPORATE CIRCLE
Logo + Tag must be no less than 1.5” wide at final size
Acceptable Colors: PMS2945, Black, reverse white
If placed on web, must click through to athletico.com
Logo + Tag must be no less than 1 wide at final size
Acceptable Colors: PMS2945, Black, reverse white
If placed on web, must click through to athletico.com
In type, our name should now appear as “Athletico” with a lower-case “c.”
If using our tagline, it should always appear as a complete sentence: Better for every body.
$50,000 and above
Archer Daniels Midland Company
Athletico Physical Therapy
Chicago Athletic Clubs
Harris Theater for Music and Dance
Target
$25,000–$49,999
Allstate Insurance Company
The Chicago Community Trust/
The Sun-Times Foundation
Exelon
Grosvenor Capital Management, LP
$10,000–$24,999
AbbVie
ACME Hotel Company
Baker & McKenzie LLP
Deloitte
GoodSmith Gregg & Unruh LLP
ITW
Jenner & Block, LLP
MAC Cosmetics
Neal, Gerber & Eisenberg, LLP
Northern Trust
The PrivateBank
Tiedemann Wealth Management
USG Corporation
Walgreens
Wessex 504 Corporation
$5,000–$9,999
Advertising Resources, Inc.
Arnstein & Lehr, LLP
Blue Cross Blue Shield of Illinois
32
Fall Series 2015
Brown Brothers Harriman
Jackson National Life Insurance Company
Katten Muchin Rosenman, LLP
Neiman Marcus
Power Rogers & Smith, P.C.
State Farm Insurance
United Airlines
Zachys Wine and Liquor
$2,500–$4,999
AT&T
Attorneys’ Title Guaranty Fund, Inc.
Berger Schatz, Matrimonial and Family
Law Attorneys
Bottlenotes, Inc.
Citizens for John Cullerton
Clark Hill PLC
Deluxe Corporation Foundation
HBK Engineering, LLC
PhRMA
William Blair & Company
$1,000–$2,499
Amsted Industries
Austriaco and Associates LTD
Baxter International
Belgravia Group, Ltd
Greenberg Traurig, LLP
KPMG
Sahara Enterprises, Inc.
Schiff Hardin LLP
Tito’s Handmade Vodka
These generous companies
support our work onstage, in
schools, and in communities
through membership in our
Corporate Circle:
Hubbard Street Dancer Jacqueline Burnett.
Photo by Quinn B Wharton.
CORPORATE LEADERS
$5,000 and above
CORPORATE COMPANIONS
$2,500–$4,999
Allegro Dance Boutique
Deluxe Corporation Foundation
The PrivateBank
William Blair & Company LLC
CORPORATE FRIENDS
$1,000–$2,499
Amsted Industries
Belgravia Group LTD
When your company joins Hubbard Street’s Corporate Circle, it
receives exclusive benefits including performance tickets and an invitation to
observe company rehearsal in our West Loop studios.
For more information, contact Kalena Chevalier, Associate Director of
Development, at kchevalier@hubbardstreetdance.com or call
312-850-9744 ext. 141.
33
FOUNDATION & GOVERNMENT SUPPORT
$100,000 and above
The Davee Foundation
National Endowment for the Arts
Polk Bros. Foundation
$50,000–$99,999
Lloyd A. Fry Foundation
Illinois Arts Council Agency
The John D. and Catherine T. MacArthur
Foundation
Princess Grace Foundation-USA
The Rhoades Foundation
The Shubert Foundation
$25,000–$49,999
Anonymous (2)
The Chicago Community Trust
Julius N. Frankel Foundation
Prince Charitable Trusts
The Sage Foundation
$10,000–$24,999
Robert & Isabelle Bass Foundation, Inc.
Helen Brach Foundation
Children’s Care Foundation
The Irving Harris Foundation
Jack and Goldie Wolfe Miller Fund
The Elizabeth Morse Charitable Trust
$5,000–$9,999
The Max and Victoria Dreyfus Foundation, Inc.
Golder Family Foundation
Charles and Joan Gross Family Foundation
John R. Halligan Charitable Fund
Mid Atlantic Arts Foundation
National Parkinson’s Foundation
Edmond and Alice Opler Foundation
Jerome Robbins Foundation
Charles & M. R. Shapiro Foundation
The Siragusa Foundation
A. Montgomery Ward Foundation, John A.
Hutchings, Richard W. Oloffson and Bank of
America, N.A., Trustee
$1,000–$4,999
Anonymous
Butler Family Foundation
Levitetz Family Foundation
Modestus Bauer Foundation
The Farny R. Wurlitzer Foundation
Hubbard Street gratefully acknowledges these donors for their generous support of the
Hubbard Street Parkinson’s Project, one of our Adaptive Dance Programs.
Warren and Joan Eagle
Richard and Marjorie Ettlinger
Hiroshi and Kathleen Okano
Mary Splude
National Parkinson’s Foundation
Edmond and Alice Opler
Foundation
Learn more online at hubbardstreetdance.com/adaptivedance
TURNING POINTS
Sunday, November 15, 2015, 7 PM
Pick-Staiger Concert Hall, Evanston
Scott Speck: conductor
Robert McDonald: piano
SCHUBERT: Symphony No. 8 in B Minor (Unfinished)
BRAHMS: Piano Concerto No. 1
KILAR: Little Overture
TICKETS: $25, $50, $75 | Student tickets $10
25% off with code HUBBARD
312-957-0000 | chicagophilharmonic.org
Free parking at Pick-Staiger Hall
34
NEXT! Foyer Music: The Lira Singers
Fall Series 2015
Photo by Elliot Mandel
35
INDIVIDUAL SUPPORT
Artistic Director’s Society
$50,000 and above
Joyce Chelberg
Kenneth Griffin
Sandy and Jack Guthman
$25,000–$49,999
Best Portion Foundation
Sara Albrecht
Paul and Ellen Gignilliat
Latsko Family Foundation
Ellis and Sally Regenbogen
John W. and Jeanne M. Rowe
Dirk Denison and David Salkin
Timothy R. Schwertfeger and
Gail Waller
Bill and Orli Staley
Richard and Ann Tomlinson
$10,000–$24,999
Ross B. Bricker and Nina Vinik
Joel and Katie Cory
Pamela Crutchfield
Patti Eylar and Charles Gardner
Caryn and King Harris, The
Harris Family Foundation
Caryn Jacobs and Dan Cedarbaum
James and Margaret Johnson
Marc Miller and Chris Horsman
Sarah J. Nolan
J.B. and M.K. Pritzker
Family Foundation
Richard L. Rodes
R. Penny Rodes DeMott
Donald and Eileen Schiller
Mary Kay Shaw
Richard and Barbara Silverman
Elizabeth Louise Smith
Revocable Trust
Denise Stefan-Ginascol and
John Ginascol
Deborah and Kelly Stonebraker
Dr. John Vazquez and
Dr. Paul Gleixner
Randy and Lisa White
Elizabeth Yntema
$5,000–$9,999
Robert and Marilyn Arensman
John and Caroline Ballantine
Neil Bluhm
Marlene Breslow-Blitstein and
Berle Blitstein
Julia Buckingham
James and Edie Cloonan
36
Fall Series 2015
Shawn M. Donnelley and
Christopher M. Kelly
Paul and Dedrea Gray
Richard and Mary Gray
Harry and Marcy Harczak
Trish and Harp Harper
Linda Hutson
Karen Kuenster and Jim Osick
Ron and Elise Magers
John E. Miller, Jr.
Jim and Linda Mitchell
Jane Ellen Murray
David and Suzu Neithercut
Alexandra and John Nichols
James F. Oates
Abby McCormick O’Neil and
D. Carroll Joynes
Adrienne Parker and Peter Foley
Byron and Judy Pollock
Eleanor and William Revelle
Lauren Robishaw
Sallyan Windt
Patricia Woertz
Sustaining DanceMakers
$2,500–$4,999
Anonymous (2)
Jeffery Bauer
Corinne Brophy
Nancy J. Brown
Sidney and
Sondra Berman Epstein
Karena Fiorenza Ingersoll and
Emrys Ingersoll
John Grinney and Heidi Westland
Bruce Hague
John and Leslie Henner Burns
Ronald Jensen
Anne and Burton Kaplan
Dietrich and Andrew Klevorn
Nancy Lauter McDougal
Dale and Julie Leibert
Jim and Kay Mabie
Sandra McNaughton
Sally and Ted Miller
Patricia and Candace Parchem
Victoria Priola
Eric and Tammy Steele
Jack and Niki Tovin
Greg and Colleen Webb
Premier DanceMakers
$1,000–$2,499
Anonymous (6)
Greg Albiero and Mark Zampardo
Joanne Baizer
Paul and Sylvia Bateman
Bija Bennett
Susan Berlijn
Lawrence Berlin
John Blosser
Paul and Christine Branstad
Jeanne Brett
Linda S. Buckley
Gregory Cameron and
Greg Thompson
Rebecca Carlins
Gwen Carroll and Michael Rigney
Steven Collens
Jack Cooksey and Brenda Russell
Tamara and Robert Cosentino
Dr. & Mrs. Robert A Cutietta
Jeffrey Davis
Damian Dolyniuk and Kelly Royer
Marsha and Philip Dowd
Michael Downing and
Kathy Bernreuter
Alexander Dubé
Lois and Steve Eisen
The Patti Selander Eylar
Scholarship Fund
Bill Escamilla and
Lisa Dollar Buehler
Ginger Farley
Thomas J. Feie
Jodie Gates
Julie L. Gentes
Phil Geyskens
Bill and Ethel Gofen
David and Carol Golder
James and Andrea Gordon
Michael Grant and Carol McMahan
Carmela and Chris Griffin
Brian Herbstritt
Sheldon and Elaine Holzman
The Jastromb Family
Philanthropic Fund
Daniel Joseph
Joe and Leanne Klein
James and Lisa Knight
Koldyke Family Fund
Matt and Mikelle Kruger
Monica Leccese
Howard and Gail Lanznar
Karen and Peter Lennon
Philip Lumpkin and
William Tedford
Bill Melamed and
Jamey Lundblad
Helen Melchior
Richard Melman
Diane and Bob Merna
Gary Metzner and Scott Johnson
Pamela G. Meyer
Michael Moriarty
Maureen Mosh
John and Lucine Nersesian
Twyla Tharp —
50th Anniversary Tour
November 5–8
ONE OF THE
MOST ICONIC
CHOREOGRAPHERS
OF OUR TIME
AuditoriumTheatre.org
312.341.2300
Box Office: 50 E Congress Pkwy
Discounts for groups of 10+!
TWYLA THARP — 50TH ANNIVERSARY TOUR SPONSORS
Co-Commissioned by the Auditorium Theatre,
in cooperation with Ravinia Festival. Auditorium
Theatre’s participation made possible by PHILIP
AND MARSHA DOWD.
2015–16 SEASON SPONSORS
Dance Sponsor
Student Matinee
Sponsor
Student Matinee
Sponsor
Circle image: Twyla Tharp by Bill King. Main image: Rika Okamoto and Matthew Dibble in “Yowzie.” Photo by Ruven Afanador.
37
MARLEY MEMBER
Join Hubbard Street’s
monthly giving program.
Your monthly gift can have a
tremendous impact:
n
10 a month will fund the construction
$
of a costume for a dancer in a World
Premiere production.
n
20 a month allows us to license a piece of
$
music for a new choreographic work.
n
50 a month will give a Chicago Public
$
School student a scholarship to the Youth
Dance Program.
n
$100
a month allows us to create and present
a professional development workshop for an
entire school’s teachers.
n
200 a month allows hundreds of students
$
to attend an interactive Hubbard Street
performance at the Harris Theater for Music
and Dance.
With your monthly gift,
you will invest in dance,
and we will keep making it.
For more information, contact
Meghan Pioli, Development Coordinator,
at 312-850-9744 ext. 172 or
mpioli@hubbardstreetdance.com
38
Hubbard Street Dancer and Resident Choreographer Alejandro Cerrudo in Jiří Kylián’s 27’52”. Photo by Todd Rosenberg.
Fall Series 2015
Kenneth Norgan
Julie O’Connell
Thomas J. O’Keefe
Charlene Osborne
Jason Ott
Sheila Owens
Komal Patel
Don and Carol Randel
Alyssa Rapp and Hal Morris
Naomi and John Reese
The J. Rich Company LLC
Eve Rogers
Burton and Sheli Rosenberg
Kevin and Camille Rudge
Steven and Lauren Scheibe
Katherine V. Schostok
Carleen Schreder and
Ralph Musicant
Honorable Daniel Solis
Dawn Stanislaw
Robin Steans and Leonard Gail
Nikki and Fredric Stein
Jane and Michael Strauss
James Tanner and
Catherine Allegra
Peter Q. and
Michelle S. Thompson
Marilee C. Unruh
Michael and Linda Welsh
DancePartners
$500–$999
Anonymous (3)
Steve Abrams
James and Sheila Amend
Tom and Tina Berry
Sherrill Bodine
Sandy and Vicki Boyce
Janet Dauparas
Tom Doherty
Jennifer Edgcomb
Tom Fahey
Joel Frader
Amy Francetic
Jill Glaser
Madeleine Grynsztejn and
Tom Shapiro
Jayne Hanauer
Peter Hood and Christine Worley
Jim Huberty and Marc Giles
Mira Iliescu
John Jawor
George T. Jones, M.D. and
V. Lynn Jones
Lisa Key
Brian and Elizabeth Kluge
Kevin Kranzusch
Linda and Peter Krivkovich
Scott Lang
Victoria Lautman
Lew and Laurie Leibowitz
Sydney Leung
Robert Liem
Laura Lindner
Margie Liotta
Kity McNamee
Jon and Lois Mills
Laura Myntti
Edward and Gayla Nieminen
Kevin Ozan
Aaron and Helene Paris
Diane and John Patience
Cathy Peponis
Jonathan and Robin Plotkin
Eleanor Pollack
Elizabeth Price and Louis Yecies
J. Timothy Ritchie
Michael and Bonnie Rothman
Alan and Patty Rubin
Katie Sakach
Jennifer Senior
Shelly Shannon
Patricia Sternberg
Gregory and Cynthia Taylor
Kimberly Taylor
Michael and Sharon Tiknis
Wayne F. Tjaden
Mary Ellen Toll and
William Heimann
Paul Waas
John and Amy Ward
Jerold Wasserman
Keven and Nick Wilder
Karen Wilmot
$250–$499
Anonymous
Carolyn Andrews
Gregg Auby
Randy and Lorraine Barba
Stephen and Susan Bass Marcus
Linda Bierig
Greg and Cassie Boyle
Robert and Joell Brightfelt
Catherine and Hugo Chavez
Sally Coder
Elizabeth and William Coleman
Helene Connolly
Barbara Coussement
Robert and Quinn Delaney
Cindy Delmar and Dwight Dick
Duane M DesParte
Barry and Vicki Dickerson
Andrew and Diann Dincolo
Sandra Jaggi DiPasquale
Buck Dodson
Timothy and Gina Dunning
Thomas Durica
Warren and Joan Eagle
Todd Elhman
Richard and Marjorie Ettlinger
William and Jean Fischer
Paul and Christine Fisher
Jim and Deb Ford
Arthur L. Frank, M.D.
Jennifer Gavelek
Alan and Linda Goldberg
Harry and Lyne Halme
Lori Hess Pleiss and Clark Hess
Charles and Caroline Huebner
Mary Jakocko
Alan Jones
Janet Kalbhen
Mary Kamraczewski
Linda and Bernard Kastory
John and Anne Kern
Alexandra Klein
James and Jeannette Kreston
Megan Levin
Ron and Fifi Levin
Steven Maass
Donald L. MacCorquodale
Harry and Karyn Madorin
Walter Mah and
Margaret Mattsson
Richard Martinotti
Maria McCabe
Renee Menegaz-Bock and
R. Darrell Bock
Theodore Milby
Loren Miller
Stacey Newman
Marie E. O’Connor
Hiroshi and Kathleen Okano
Tom and Jeanne Olofson
Steve Palmquist and Kathryn Nuss
Audrey and John Paton
Sarah Pesetsky
John F. Podjasek III Charitable Fund
Andrew and Judy L. Porte
John Powers
Howard and Gail Regenbogen
Ruud Roggekamp
Linda Rosencranz
Harriet and Irwin Ross
Gregory Salah
Nick Sarros
Patricia Schostok Reese
Mary Splude
Hal S. Stewart
George Streeter and
Kristina Howard
Bernard Vrijburg
Stacy Wells
Jennifer Weuve and Jeffrey Gitelle
Jon Will
Ruth Ann Wisener
Hubbard Street appreciates the
support of the corporations,
foundations and individuals that
contribute gifts up to $250 and
regrets the inability to list their
names due to space limitations.
For any corrections to program
name listings please contact the
Development Office at 312.8509744 Ext. 130 or mpioli@
39
GIFTS IN HONOR AND MEMORY
Gifts made in honor and memoriam are meaningful ways to recognize individuals with special
connections to Hubbard Street. For more information or to make a gift, please contact the
Development Office at 312-850-9744 ext. 172 or email mpioli@hubbardstreetdance.com.
In Honor of Sara Albrecht
Sandra Jaggi DiPasquale
Madeleine Grynsztejn and
Tom Shapiro
Beth Heller
Lisa Key
Bill Melamed and Jamey Lundblad
In Honor of
William Carlos Angulo
Esther Angulo
In Honor of Meg Callahan
Jonathan and Robin Plotkin
In Honor of Edie and
James Cloonan
Harry and Karyn Madorin
In Honor of Meredith Dincolo
Andrew Dincolo
In Honor of Patti Eylar
Linda Hutson
In Honor of Charles Gardner
and Patti Eylar
Greg Cameron and Greg Thompson
In Honor of the marriage of
George Halik and
Scott Wechsler
George and Mary Perlstein
In Honor of Chris Horsman’s
birthday
Donald Santoski and April Brazell
In Honor of Jim Oates’
90th Birthday
In Honor of Linda Hutson’s
birthday
Sallyan Windt
In Honor of Marie O’Connor’s
induction as a Hubbard Street
Life Director
Rosemary McManamon
In Honor of Ben Johnson and
Katie Blaski
Drew Bishop
In Honor of Dietrich Klevorn
Amy L. Carbone
In Honor of Bill Melamed and
Jamey Lundblad
Buck Dodson
In Honor of Marc Miller’s birthday
David and Kathryn Donovan
June Dorn
Michael Grant and Carol McMahan
Renee Haber-Schwartz
George Horsman
Linda and Bernard Kastory
Steven Maass
Ron and Elise Magers
Robert and Barbara Mason
Wayne Myers and Sarah Caldicott
Ruth Nelson
Tom and Jeanne Olofson
In Honor of Jason Palmquist
Brooke Flanagan
In Honor of Rich Rodes
Thomas J. Feie
Kevin Kranzusch
In Honor of Katherine Schostok
Paul and Ann Krouse
In Honor of Deborah Stonebraker
Steven and Lauren Scheibe
In Honor of Anya Jean
Sweetwood
John W. Sweetwood
In Honor of Sallyan Windt
Henry and Cookie Kohn
Patricia Pell
CONNECT WITH SOPHISTICATED CONSUMERS
Advertise in Hubbard Street’s
35
35
magazine-quality program.
Glenn Edgerton, Artistic
YEARS
Director
Glenn Edgert
on, Artistic
YEARS
Director
35YE
ARS
Hubbard Street Dance Chicago performing arts
audiences are affluent, socially active and have
lifelong, emotional connections to arts and
culture in Chicago.
Season-long packages keep your distinct brand
front of mind with our forward-thinking audience.
View past programs at hubbardstreetdance.com/
programs. For more information or to request a
media kit, contact Sidney Cristol at 312-850-9744
ext. 164, or at scristol@hubbardstreetdance.com.
Glenn Edgerton,
Glenn
Edgerton,
Artistic Director
Andrew
Alexa
CEO/Executi nder
ve Produ
cer
Kelly Leona
rd
Executive
Vice Presid
ent
Glenn Edger
ton
Artistic
Director
Jason D.
Palmquist
Executive
Director
Director
Artistic
Winter Series 15
December 12–
Pieces
One Thousandrudo
by Alejandro
Cer
Fa
Gnallwa
Sebyries
OcDua
Nacho
toto
ber 15 –1
Quinte
tt by Wil
9
liam For
The Imp
sythe
ossible
Billy Bun
(Thursday,
, a World
Saturday
Falling geroth, Dire
and Sund
Angels
ctor Premiere
ay)
by Jiří
by Ale
PACOPE
Kylián
jandro
PEPLUT
(Friday
Cerrud
only)
O by Ale
o
jandro
Cerrud
o (Friday
The Art
of Falli
ng
only)
ENJOY HUBBARD STREET
AS A GROUP
Did you know Hubbard Street offers specially priced packages for groups of ten or more for
performances at the Harris Theater? Group ticket packages are affordable and exciting ways to
reward and entertain colleagues, classmates, clubs, conventions, family members and more.
Group packages are ideal for
Company/corporate outings
Client appreciation socials
Alumni club events
Convention activities
School fundraisers
Family reunions
Donor appreciation nights
Senior group trips
Special perks for groups of 25 or more
Groups of at least 25 attendees may host a pre- or post-show reception in the Harris Theater’s
Donor Room for their guests. Please note all food, beverages and other related costs are the direct
responsibility of the hosting organization. Use of the Donor Room is extended on a first-come, firstserved basis and is subject to availability.
Backstage tours
Groups may also take guided backstage tours! These include visits to the green room, wardrobe,
rehearsal hall and a walk onstage. Tours are on a first-come, first-served basis and subject to
availability.
Take Hubbard Street home
Give your group members a memento to take home with them! Hubbard Street Dance Chicago
apparel and souvenirs may be purchased at a quantity discount for your group event. Additional
details available upon request.
Group pricing
Contact us for pricing — dependent upon the size of the group and placement in the theater.
For more information, pricing, or to book your group, visit
hubbardstreetdance.com/groups, or contact Sidney Cristol at
scristol@hubbardstreetdance.com.
Hubbard Street Dancer Jessica Tong. Photo by Quinn B Wharton.
“Brilliant, engaging, moving.
I was completely overcome with
emotion. The way the entire piece
moved from solo, to duets, to
trios, to groups was striking.
I loved it.”
—Ericka Lashley, audience member
42
Fall Series 2015
E M E R G E F R O M T H E O R D I N A R Y.
43
U N A S S I M I L AT E .
YOUTH, EDUCATION AND COMMUNITY PROGRAMS
Hubbard Street Dance Chicago thanks these donors for helping us in our mission to bring dance
into classrooms and communities:
Additional Funding
Robert and Isabelle Bass Foundation, Inc.
Helen Brach Foundation
Children’s Care Foundation
The Crown Family
Golder Family Foundation
Harry and Marcy Harczak
Jackson National Life Insurance Company
Neiman Marcus
Edmond and Alice Opler Foundation
The PrivateBank
Charles & M.R. Shapiro Foundation
The Siragusa Foundation
A. Montgomery Ward Foundation,
John A. Hutchings, Richard W. Oloffson
and Bank of America, N.A., Trustee
Hubbard Street 2
Butler Family Foundation
Lou Conte Dance Studio
Jane Ellen Murray Foundation
Principal Contributor
Dancer Development Patron
The Patti Selander Eylar Scholarship Fund
Ensemble member
Kate Arrington with
Aaron Himelstein
in John Steinbeck’s
East of Eden
Hubbard Street 2 alumnus Jules Joseph with Mitchell Elementary School students at the Hubbard Street Dance Center.
Guarantee your seats for
John Steinbeck’s East of Eden
and the rest of the thrilling
season today
See all five plays for as little as $100
44
Fall Series 2015
44
steppenwolf.org/subscribe | 312-335-1650
45
MATCHING GIFTS
These companies contribute through matching gift programs. Ask your company to match your
donation to Hubbard Street.
Aetna Foundation, Inc.
Allstate Insurance Company
American Airlines
Amsted Industries
Aon Foundation
Bank of America
Elizabeth F. Cheney Foundation
The Chicago Community Trust
Citicorp/ Citibank, N.A.
Deutsche Bank Americas Foundation
GE Foundation
IBM Corporation
Johnson Controls Foundation
JPMorgan Chase Foundation
Kimberly Clark Foundation
Leo Burnett Company, LLC
McDonald’s Corporation
Merrill Lynch & Co. Inc
Motorola, Inc.
Nike, Inc.
Northern Trust
Nuveen Investments
Pepsico
PNC
Polk Bros. Foundation
PricewaterhouseCoopers Foundation
Quaker Oats Company
UBS
The Walt Disney Company
Washington Mutual
Wells Fargo
SPECIAL SERVICES
C
ACME Hotel Company
Preferred Hotel Partner
Park Grill
Preferred Restaurant Partner
Adler Associates, Ltd.
Mesirow Insurance Services
Insurance Services
The PrivateBank
Financing and Banking Services
Allied Live
Advertising
Athletico Physical Therapy
Official Provider of Physical Therapy Baker Tilly Virchow Krause, LLP
Auditor
Official Health Club
Communiqué Graphic Design
Graphic Design
Embeya
HMS Media
Video Services
KlearSky Solutions, LLC
Web Development and Design
LAZ Parking
Parking Partner
MAC Cosmetics
Official Make-Up Sponsor
Franczeck Radelet, P.C.
Jenner & Block LLP
Mosher & Wagenmaker, LLC
Legal Services
Seasons 52
M
Y
CM
MY
CY
CMY
K
Sunny Artist Management
North American Representation
Ilter Ibrahimof, Director
ilter@sunnyartistmanagement.com
Synapse Networks, Inc
IT Services
Spirits Sponsor
Todd Rosenberg Photography
Photography
Tourwerks Entertainment Travel
Tour Housing Negotiation
Kathleen Weber, M.D.
Senaida Echevarria
Midwest Orthopedic at Rush
M/D/R Creative
Gala Lights and Sound
46
Fall Series 2015
47
CONTRIBUTED MATERIALS AND SERVICES
ACME Hotel Company
Andy Cohen
Athletico
Robert and Joan Baizer
Donald and Donna Baumgartner
Bloomingdales
Blue Plate Events
Cannonball Wine Company
Chateau Marmont Hotel
Chef Freddy Cuisine
Chicago Opera Theater
Chicago Shakespeare Theater
Lester Coney
Bob Coscarelli Photography
Embeya
EXPO Chicago
Goose Island Brew Co.
Kenneth C. Griffin
Intro Chicago
Peter Ivanovich
Kehoe Designs
John Kelly Jr.
LAZ Parking
Lettuce Entertain You
Lollapalooza
MAC Cosmetics
Mott Street
Sarah J. Nolan
Park Grill
Joe Perillo
James Raff
Alyssa Rapp and Hal Morris
Ellis and Sally Regenbogen
Ravinia Festival
Andrew Salzman
Seabourn
Seasons 52
Sepia Restaurant
Ross Shelleman and Tricia Rooney
Southwest Airlines
The Denim Lounge
The Langham Chicago
The Ritz Carlton
The Second City
Tiffany & Co.
Tru
United Airlines
Zachys Wine and Liquor
A Zaffarano Production
Hubbard Street appreciates the support of in-kind
contributors of gifts valued up to $250 and regrets the
inability to list their names due to space limitations.
Hubbard Street Dancers rehearse N.N.N.N. by William Forsythe, from left: Alicia Delgadillo, Ana Lopez, Emilie Leriche, and
Jacqueline Burnett. Photo by Todd Rosenberg.
Join now for $0
enrollment fee.
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48
Fall Series 2015
CAC215-$0-HubbardSt-55x8.indd 1
Offer for limited time only.
First time guests. One time use.
1/27/15 4:02 PM
ENDOWMENT SUPPORT
Hubbard Street Dance Chicago gratefully acknowledges the generous support of the following
donors to the Endowment for Health and Wellness and the Endowment for Artistic Programs, which
were established with a generous grant from the Ford Foundation.
$100,000 and above
Pamela Crutchfield
David Herro and Jay Franke
Jim and Kay Mabie
Alfred L. McDougal and
Nancy Lauter McDougal
Timothy R. Schwertfeger and
Gail Waller
$50,000–$99,999
Sara Albrecht
John and Caroline Ballantine
Ms. Deborah A. Bricker
Sidney and Sondra Berman
Epstein
Jack and Sandra Guthman
Earl J. and Sandra Rusnak
William N. Wood Prince
$25,000–$49,999
Harold Florsheim
Paul and Ellen Gignilliat
Averill and Bernard Leviton
Dale R. Machalleck
James F. Oates
Randy A. White
$10,000–$24,999
Mr. Dean Balice
Christopher J. and Kate Barber
Roger and Julie Baskes
Joseph and Anne Bohne
Janice Y. Burnham and
Raymond B. Carney
Edie and James Cloonan
Joel and Katie Cory
Susan and Bryan Erler
Trudene Giesel
Mary Louise Gorno
Jacqueline A. Hurlbutt
Sarah J. Nolan
Dina Norris and Steve Young
Sally and Ellis Regenbogen
William and Eleanor Revelle
Dana and Andre Rice
Kevin and Camille Rudge
Warren D. Shifferd, Jr.
Denise Stefan-Ginascol
Richard and Ann Tomlinson
Robert and Nancy Unglaub
Earl and Susan Webb
Sallyan Windt
$5,000–$9,999
Julia and Larry Antonatos
Thomas F. Barnum
The Sidney and
June Barrows Foundation
Corinne E. Brophy
Patti Eylar and Charlie Gardner
Carla J. Eyre and Peter F.
Gallagher
Judith Grubner and Craig Jobson
Linda Hutson
Marc Miller and Chris Horsman
Pat Pulido Sanchez and
Manuel Sanchez
John B. and Dianne L. Schwartz
Ken Shanoff
Deborah and Kelly Stonebraker
Jack and Niki Tovin
$1,000–$4,999
Kathy Catrambone
Elizabeth F. Cheney Foundation
Carolyn H. Clift
Tom and Lois Colberg
Jocelyn B. Hamlar and
Leighton J. Toney
Joel and Diane Jastromb
Rachel Corn Kluge
Todd E. Magazine
David Mekemson and
Irene Petruniak
Maureen Mosh
Bill Nygren Foundation
Sheila Owens
Donald H. Ratner
Patrick J. Schieble
Steven and Frances Shapiro
Mary Kay Shaw
Richard B. Turner
Crain’s Best New Restaurant
Food & Wine’s People’s Best New Chef
nominee (2013, 2014)
Esquire’s 20 Best New Restaurants (USA)
Embeya invites you to join us for a
phenomenal tasting menu prepared by
nationally acclaimed executive chef
Mike Sheerin before your Hubbard Street
performance for only $35.
Hubbard Street. Be sure to make this special
request when making your reservation.
Call 312.612.5640 or reserve online at
embeya.com
Theater rental and services have been
generously underwritten through the support of the
Harris Theater for Music and Dance.
205 E. Randolph Dr. 312-334-7777
harristheaterchicago.org
50
Fall Series 2015
51
2015/16 Chicago Season
November 7, 2015
Mary B Galvin Recital Hall
Northwestern University New Music Initiative
NUNC! 2
what’s
good
now
November 15, 2015
Fullerton Hall - Art Institute of Chicago
Chinese Fine Arts Society
8 Tones: An Exploration
February 5, 2016
International House
University of Chicago Presents
Surface Tension
June 5, 2016
Constellation Chicago
Frequency Series
Currents
AT THE SHOPS AT NORTH BRIDGE
n
HubbardAd92014.pdf 1 9/18/2014 9:09:42 AM
CHICAGO
n
312.832.1752
n
SEASONS52.COM
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52
Fall Series 2015
Aaron Copland Fund for Music.
53
HUBBARD STREET
+ THE SECOND CITY
WE’RE BACK.
TELL A FRIEND.
JUNE 9-12
It’s an encore by popular demand of
The Art of Falling, created by Hubbard
Street in collaboration with The
Second City. This witty and heart-felt
melding of dance and comedy follows
the adventures of six unforgettable
main characters, interspersed with
improvised scenes, musical numbers,
and hilarious vignettes. Named to
“best of 2014” lists by the Chicago
Tribune, the Chicago Sun-Times and
Newcity, The Art of Falling tells stories
of taking risks, falling in love, and
daring to live. Don’t miss it.
Subscribe to Season 38
to guarantee priority
tickets before they go on
sale to the public.
DON’T MISS A BEAT
THIS SEASON.
Upgrade your Fall Series ticket to a flexible subscription
and design the season you want. Reap the rewards of
subscribing while saving on tickets.
To upgrade today, visit our Courtesy Table
in the lobby.
CONNECT
WITH
HUBBARD
STREET
Like us on Facebook. Follow us
on Twitter. Go into the studio on
Instagram, pin us on Pinterest,
listen to playlists from our
repertoire on Spotify, watch videos
on YouTube and more.
PERFORMING AT
hubbardstreetdance.com/summer
312-850-9744
Hubbard Street Dancer Jessica Tong and Ensemble member Travis Turner. Photo by Todd Rosenberg.
Hubbard Street Dancer and Choreographer Penny Saunders.
55
“ALWAYS VIRTUOSIC, ...THEY DANCE WITH
THE HONEST VULNERABILIT Y AND EARNESTNESS
THAT ARE L ANG’S TRADEMARKS.” -Huffington Post
JESSICA
LANG
DANCE
The Harris Theater’s primary mission is to partner with an array of Chicago’s music and dance
performing arts organizations to help them build the resources and infrastructure necessary
to achieve artistic growth and long-term organizational sustainability. The Harris Theater’s
original group of 12 resident companies has grown to include 35 diverse and exceptionally
talented performing arts organizations, including internationally acclaimed Hubbard
Street Dance Chicago, Music of the Baroque, Chicago Opera Theater, Chicago Symphony
Orchestra’s MusicNow, and collaborations with Lyric Opera of Chicago, National Museum of
Mexican Art, Museum of Contemporary Art Chicago, and Columbia College Chicago. Through
these partnerships, the Theater has earned national recognition as a distinctive model for
collaboration, performance, and artistic advancement.
F R I D AY
1 1 . 6 .1 5
7:30PM
The Theater supports this mission by providing these partner organizations with subsidized
rental, technical expertise, and marketing support, allowing the organizations to focus on
what they do best—bringing the finest in music and dance performances to the public. The
Theater offers professional development opportunities, including the innovative Learning Lab,
endorsed with grants from the National Endowment for the Arts.
CALL: 312.334.7777
The Harris Theater is also dedicated to presenting internationally acclaimed music and dance
organizations to enhance its reputation as well as to help build audiences for the Theater’s
resident companies. Through the Harris Theater Presents series, the Theater has achieved
widespread recognition as a vital cultural anchor in Chicago. Daniel Barenboim, Mikhail
Baryshnikov, Renée Fleming, the Hamburg Ballet, Lang Lang, the New York City Ballet, the
Paris Opéra Ballet, the San Francisco Ballet, Stephen Sondheim, Chamber Music Society
of Lincoln Center, and many others have graced the Harris’ Elizabeth Morse Genius Stage
through this series.
C L I C K : H A R R I S T H E AT E R C H I C AG O . O R G
VISIT: 205 EAST RANDOLPH DRIVE
A B BY McCORM IC K O’ N E I L A N D D. C ARRO L L J OY N E S, L E A D S P O N S OR
J O H N A N D C ARO L I N E B A L A N T I N E, JAC K A N D SA N DR A GU T H M A N,
M IC H A E L A N D S H ARO N T I K N I S T H RO UG H T H E I M AG I N E
C A M PA IG N, C H IC AG O ARC H I T EC T U RE B I E N N I A L, T H E J OYC E
T H E AT E R, A N D S OC I E T Y F OR T H E P E RF ORM I N G
ART S, CO M M I S S I O N I N G PART N E RS
56
S E AS O N S P O N S OR
Fall Series 2015
O F F IC I A L A I RL I N E O F
T H E H ARRI S T H E AT E R
HARRIS THEATER FOR MUSIC AND DANCE
The Joan W. and Irving B. Harris Theater for
Music and Dance is a 1,500-seat state-of-the
art performance venue located in Chicago’s
Millennium Park. Opened in November 2003,
the nonprofit Harris Theater was the first multiuse performance venue built in downtown
Chicago since 1929. Harris Theater serves as a
unique national model of collaboration between
the philanthropic community and performing
arts organizations in music and dance. More
than a decade later, the Theater features the
most diverse offerings of any venue in Chicago,
hosting local, national, and internationally renowned artists and ensembles.
H A R R I S T H E AT E R
PRESENTS
WORLD PRE MIERE OF
TESSERACTS OF TIME
A COLL ABORATION
BY JESSICA L ANG
AND STEVE N HOLL
ABOUT
S E AS O N H OT E L PART N E R
The Harris maintains a strong emphasis on community engagement through enrichment
activities and their Access Tickets Program, in which the Harris Theater partners with
health and human services agencies and community organizations to provide underwritten
performance tickets for individuals facing illness, disability, and challenging life circumstances.
Since 2009, the Theater has provided over 8,800 tickets to children and families, representing
25 neighborhoods across the city of Chicago. Learn more about Community Engagement
programs at engage.harristheaterchicago.org.
L E A D CO M M I S S I O N E R
57
STAFF
BOARD OF TRUSTEES
Officers
Alexandra C. Nichols, Chairman
Peter M. Ellis, Vice Chair
Elizabeth Hartigan Connelly, Vice Chair
Ricardo T. Rosenkranz, MD, Vice Chair
Mary Kay Sullivan, Vice Chair
Marilyn Fatt Vitale, Secretary
David Snyder, Treasurer
Caryn Harris, Executive Committee, Member at Large
Michael Tiknis, Alexandra C. and John D. Nichols President
and Managing Director Endowed Chair
Trustees
James L. Alexander, Past Chairman
John W. Ballantine
Lee Blackwell Baur
Paul S. Boulis
Sunny Chico
Peter M. Ellis, Vice Chair
Louise Frank
Jay Franke
Robert J. Gauch, Jr.
Sandra P. Guthman, Past Chairman
Caryn Harris, Executive Committee,
Member at Large
Joan W. Harris, Past Chairman
Elizabeth Hartigan Connelly, Vice Chair
Christine N. Evans Kelly
Deborah A. Korompilas
Merrillyn J. Kosier
Mac MacLellan
Executive Staff
Michael Tiknis,
Alexandra C. and John D. Nichols
President and Managing Director
Endowed Chair
Cheryl Mendelson,
Chief Operating Officer &
Executive Vice President of
External Affairs
Laura Hanssel,
Executive Vice President
& Chief Financial Officer
P Douglas McKeen
Zarin Mehta
Judith Neisser
Alexandra C. Nichols, Chairman
Kenneth R. Norgan
Abby McCormick O’Neil, Past Chairman
Jason Palmquist, Ex-Officio
Ricardo T. Rosenkranz, Vice Chair
William Ruffin, Ex-Officio
Patrick M. Sheahan
David Snyder, Treasurer
Jeffrey D. Steele
Mary Kay Sullivan, Vice Chair
Michael Tiknis, Ex-Officio
Marilyn Fatt Vitale, Secretary
Elliot Weissbluth
Dori Wilson
Maria Zec
Life Trustees
Peter M. Ascoli
Cameron S. Avery
Marshall Field V
James J. Glasser
Sarah Solotaroff Mirkin
Harrison I. Steans
Robin S. Tryloff
(Listing as of September 29, 2015)
58
Fall Series 2015
Administration
Lori Dimun,
Vice President of Operations & Production
Mary Jo Rudney,
Director of Finance
Jake Anderson,
Manager of Artistic Administration
Meghan McNamara,
Manager of Community Engagement
& Partnerships
Emily Macaluso,
Manager of Operations
Hillary Pearson,
Operations Coordinator
Dawn Wilson,
Technical Coordinator
Derek Raridon,
Staff Accountant
Erin Swanson,
Assistant to the President and Managing
Director
Production
Andy Principe, Head Carpenter
Jeff Rollinson, Flyman
Jeffrey Kolack, Head of Props
Don Dome Jr., Head of Audio
Kevin Sullivan, Electrician
Development
Jodi Kurtze,
Vice President of Development
Amanda Lawson,
Director of Annual Giving & Sponsorships
Catherine Miller,
Manager of Campaign Gifts
& Board Relations
Elizabeth Halajian,
Manager of Annual Giving & Special
Events
Samantha Shay,
Development & Stewardship Assistant
Marketing
Patricia Barretto,
Vice President of Marketing
Kelly Degenhart,
Director of Sales & Marketing
Jamie Sherman,
Manager of Public Relations &
Communications
Ticketing Services
Gregg Brody, Box Office Treasurer
Facilities
John McDonagh, Facilities Manager
Doug Gorzycki, Facilities Engineer
Herbert Carter, Facilities Staff
Shawn Robinson, Facilities Staff
Lashawn Whitehead, Facilities Staff
Front of House
Kay Harlow, House Manager
Jamelle Robinson, Concessions Manager
Melaney Reed, Saints Coordinator
The Saints, Volunteer Usher Corps
(Listing as of September 29, 2015)
59
INFORMATION
Rental information: If you have any questions about the Harris Theater, including rental of the
facility, group tours, or volunteer opportunities, please call the administrative office Monday
through Friday, 9AM–5PM, at 312.334.2407.
Ticket purchases: To purchase tickets, visit HarrisTheaterChicago.org. Call or visit our Box Office at
312.334.7777 Monday through Friday, 12–6PM or until curtain on performance days. For group
tickets for 10 or more people, call our Sales Office at 312.334.2419.
STUDIO RENTALS
In consideration of other patrons and the performers: Please turn off all cell phones.
Photography is not permitted in the Theater at any time. Film or digital images will be confiscated
or deleted by the Harris Theater house staff; violators will be subject to a fine. Latecomers will
be seated at the discretion of the house management. Smoking is prohibited within the Harris
Theater.
For your safety: Please take a moment and note the nearest exit. In the event of an emergency,
follow the directions of the Harris Theater house staff. In the event of an illness or injury, inform
the Harris Theater house manager.
Accessibility: Infrared assisted listening devices are available from the Harris Theater house staff.
The Theater is equipped for easy access to all seating levels for patrons needing special access.
Please advise the Box Office prior to the performance for any special seating needs.
Parking: Discounted parking validation is available for all ticket holders using the Millennium
Park Garage. A validation machine is located next to the Box Office on the Orchestra Level, as you
enter the Theater lobby.
Lost and found: Retrieved items will be held for 30 days with the Harris Theater house staff at
312.334.2403.
Conveniently located in Chicago’s West Loop, the Lou Conte Dance Studio has
plenty of space to fit your needs! Our state-of-the-art facilities and studio
spaces are available for auditions and rehearsals, as well as photo and video
shoots. Studios are equipped with mirrors, sprung Marley floors, pianos and
high-quality sound systems.
LCDS has rented its studios to more than 90 organizations, hosting auditions
and rehearsals for musicals, dance companies and internationally renowned
performers such as:
American Ballet Theatre
Beyoncé
Carnival Cruises
Dancing with the Stars
Disney’s The Lion King
The Julliard School
Pilobolus
Riverdance
San Francisco Ballet School
Universal Studios Japan
Wicked
America’s Best Dance Crew
Busch Gardens
The Color Purple
Destiny’s Child
Goodman Theatre
Mamma Mia!
Princess Cruise Lines
River North Dance Chicago
Savion Glover
Urban Bush Women
Call 312-850-9766 to make your studio reservation today.
60
Fall Series 2015
PENINSULA MUSIC FESTIVAL PRESENTS
YOUTH DANCE PROGRAM
For ages 18 months–18 years
February
CREATIVE. TECHNICAL. COMPREHENSIVE.
Three Chamber
Concerts to
Warm Your
Musical Soul!
Hubbard Street Dance Chicago is
among the most original forces
in contemporary dance. The
Youth Dance Program provides
an in-depth dance education
that focuses on creativity and
the techniques that support
contemporary dance. Study at
Hubbard Street with Academy
and Open Studio training options.
All Concerts Held at
Shepherd of the Bay
Lutheran Church
at 2:00 p.m.
$25 General
Admission Seating
per Concert
FIND THE TRACK THAT’S RIGHT FOR YOU.
email: youth@hubbardstreetdance.com
phone: 312-850-9744 ext. 139
62hubbardstreetdance.com/YouthDance
Fall Series 2015
February Fest
Subscription
$60
$5 Students/
Children
Saturday, February 13
Igor Yuzefovich, Violin
Eric Olson, Oboe
Ellen Olson, Viola
Judith Jackson, Piano
Janet Sutter, Violin
Karen Nelson, Violin
Judith Jackson, Piano
FEBRUARY FEST DETAILS AND ORDERING:
www.musicfestival.com • 920-854-4060
THE DANCE CENTER
DANCE
WITH US
2015/16 SEASON
USE CODE HSDC15 FOR 15% OFF SINGLE TICKETS (LIMIT 2 PER PURCHASE)
Stephen Petronio Company
Urban Bush Women
October 1, 2 & 3, 2015 | 7:30PM
February 18, 19 & 20, 2016 | 7:30PM
Natya Dance Theatre
Joe Goode Performance Group
October 22, 23 & 24, 2015 | 7:30PM
March 10, 11 & 12, 2016 | 7:30PM
Camille A. Brown & Dancers
Rennie Harris & Michael Sakamoto
November 5, 6 & 7, 2015 | 7:30PM
March 31, April 1 & 2, 2016 | 7:30PM
Giordano Dance Chicago
FOR TICKETS
CALL 312.369.8330
OR VISIT COLUM.EDU/DANCECENTERPRESENTS
February 4, 5 & 6, 2016 | 7:30PM
Claire Bataille, Director
Lou Conte, Founder
Photos by Todd Rosenberg.
1306 S. Michigan Ave., Chicago, IL 60605
LIKE WHAT YOU SAW?
SPREAD THE WORD!
@HubbardStreet
HubbardStreetDance
#FallForForsythe
Movers of all ages and abilities are welcome
to dance year-round at the Lou Conte Dance
Studio. With more than 70 classes each
week, we’ve got moves for everyone from
absolute beginners to seasoned professionals.
ballet
jazz
modern
tap
contemporary
African
hip-hop
musical theater
Dance Latin Groove
BeMoved®
Lou Conte Dance Studio
at the Hubbard Street
Dance Center
1147 W. Jackson Blvd.
Chicago, Illinois 60607
312-850-9766
Pilates
yoga
jazz funk
Vixen Workout
To learn more and to register for the Fall Session, visit
hubbardstreetdance.com/LCDS
312-850-9744
Jane Ellen Murray Foundation
The Patti Selander Eylar Scholarship Fund
Official Provider of Physical Therapy
64
Fall Series
Hubbard
Street2015
Dancers Penny Saunders and Jesse Bechard in Quintett by William Forsythe. Photo by Cheryl Mann.
Dancer Development Patron
65
CRAIN’S IS PROUD TO BE THE
SEASON 38 MEDIA SPONSOR FOR
HUBBARD STREET
DANCE CHICAGO
The perfect blend…
AK
T M ES
R
R
TE
MO
NI
MY
WFM
News, weather, and the greatest hits of the last
500 years… Every morning on 98.7WFMT and wfmt.com.
N G BE
T
Get your “WFMT makes my morning better”
diner mug at wfmt.com/support.
Crain’s is a long-time supporter of the Chicago arts
as well as the publisher of the Chicago Symphony
Orchestra, The Goodman Theatre and The Joffrey
Ballet program books.
For program book information contact Chris Janos at
) 312-280-3132 or 8 cjanos@crain.com
67
WINTER SERIES
DECEMBER 10-13
Crystal Pite brings the U.S. company premiere of
Solo Echo to Hubbard Street, alongside the
Harris Theater debut of Waxing Moon
by Robyn Mineko Williams, a world premiere by
Penny Saunders, and new work for Hubbard Street 2
by 2015 International Commissioning Project
choreographer Yin Yue.
Upgrade your
Fall Series
tickets to a
two-pack
subscription
and save.
Crystal Pite
Robyn Mineko Williams
Penny Saunders
Yin Yue
hubbardstreetdance.com/winter 312-850-9744
Hubbard Street Dancers Jacqueline Burnett and Andrew Murdock in Waxing Moon by Robyn Mineko Williams. Photo by Todd Rosenberg.

Fall Series Program Book - Hubbard Street Dance Chicago

Transcription

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