By Walter Rutledge
The Hubbard Street Dance Chicago is presenting their New York City season from March 17th until Easter Sunday April 5th. The two-week season will offer two eclectic programs featuring a total of six works. The March season also marks the fifth anniversary of Artistic Director Linda-Denise Fisher-Harrell historic tenure. Her 2021 appointment broke many glass ceilings as the first alumna, woman, and person of color to lead the organization.
We always look forward to the New York season of Hubbard Street Dance Chicago. High production value, strong dancers, and well curated audience friendly programs makes the Chicago based dance company an annual must see. Economy seemed to be the theme for program A offering three works by Nacho Duarto, Bob Fosse and Azure Barton.
All three works were cleanly crafted and focused with deliberate intent. But they all shared an unhurried quality and were well suited for this “cool fire” program. Gnawa by Nacho Duarto opened the evening. Gnawa music is a group of Moroccan religious songs and rhythms heavily influenced by the culture of the West Africans who brought to the country in the 1600’s as slaves. The hypnotic quality of the music lends itself to dance; but Duarte did not dance to the music he allowed the choreography to create its own.
The curtain rose with dancers Morgan Clune and Elliot Hammans movement upstage center, backs to the audience and slowly disappearing into the darkness. As the couple began to vanish an ensemble slowly emerge from the same upstage abyss. Flawless transitions that never telegraphed the proceeding phrases became the welcomed hallmark for this ensemble work.
Partnering with a social dance favor permeated the section with grounded movement while the couples rarely lost contact. Could this be a reimagined Salsa? As the work progressed, it was quickly evident this was not a reinterpretation of an existing style- this was Nacho Duarto.
Clune and Hammans returned with bodies unfolding into seamless lifts, drops and promenades. There was a feeling of rebirth/discovery as the bodies intertwined, sharing weight and quietly erupting into unannounced lifts that gave the illusion of defying gravity. Their exit back into the darkness heralds return the ensemble carrying illuminated bowls.
The final section has a steady and powerful to build to a visual climax based on the choreographic structure. Clune and Hammans re-enter from the upstage dark, she is lifted above the group and now surrounded by the flicking lights as the curtain falls.
It was great to see Bob Fosse’s choreography on the concert stage. Sweet Gwen Suite consists of three rarely seen pieces choreographed by Bob Fosse and Gwen Verdon in the 1960’s for a series of television specials. Mexican Shuffle and Cool Hand Luke premiered on the Bob Hope Special, and Mexican Breakfast appeared on the Ed Sullivan Show. All three of the trios originally featured Gwen Verdon.
A tight down spot found Alexandra Best standing in the center with Dominick Brown and Aaron Choate resting on her legs. Heads bowed the trio faces were obscured by wide brim bolero fedoras trimmed with a silver concho headband bands and matching belts. Brandishing lit cigarettes (remember this was choreographed when you could smoke on an airplane) the trio served Fosse style machismo muy caliente!
There was the expected flamenco influenced poses and claps presented alongside his signature Fosse hip rolls, high walks, prances, port de bra, and dancing hands. But seeing these works, which had been redesigned on the concert stage revealed the intricacies and nuanced magic of the choreography.
In the finale Mexican Breakfast Best returns wearing a classic 1960’s A-Go-Go ponytail. Here she is pure personality and Brown and Choate share in this tongue in cheek revelry. Due to the ephemeral nature of dance, it is important to not only preserve, but to introduce audience to choreographers like Fosse. We are excited to see his Percussion IV next week on the program B.
The program closed with Aszure Barton Blue Soup. The work made it company premiere in 2025 and is another example of the range and versatility of the Hubbard Street. Originally choreographed in 2002 for Barton own “crew” Aszure and Artists. The expansive work has an everything but the kitchen sink approach.
Aaron Choate opened the work in drag with a lip-synched version of Serge Gainsbourg and Brigitte Bardot’s Comic Strip. His blonde wig, blue cropped jacket over a blue leotard completed his camp over the top look. Standing in front on a chrome floor standing microphone he was the classic drag chanteuse.
Barton took us on a wild adventure of joyous dancing. Director David Lynch was one of Barton’s influences and it was reflected in the works mix of breakneck solos, fluid yet quirky small groups and the homogeneous ensemble final movement. Kudos to Shota Miyoshi whose overall performance exuded an infectious abandon.
Hubbard Street Dance Chicago will begin their second week Tuesday March 31st. The company will offer four works by James Gregg, Bob Fosse, Matthew Rushing and Aszure Barton. For more information and tickets visit joyce.org.
In Photo:
Blue Soup, Cast *
Gnawa, Cast*
Gnawa, Jason Hortin and Kellie Epperheimer **
Sweet Gwen Suite, Dominick Brown, Cyrie Topete and Aaron Choate*
Sweet Gwen Suite, Dominick Brown, Cyrie Topete and Aaron Choate*
Blue Soup, Aaron Choate*
Blue Soup, Aaron Choate, Shota Miyoshi, Alexandra Best*
*Photo by Michelle Reid
**Photo by Todd Rosenberg.
