Hubbard Street Dance Chicago recently graced the stage of The Joyce Theater in New York for a two-week engagement, presenting two distinct programs. As a long-time follower of contemporary dance, I attended both programs to witness the evolution of this renowned company.
Having last seen Hubbard Street in 2019, I was curious to observe the changes, especially under the new Artistic Director Linda-Denise Fisher-Harrell, who took the helm in 2021. Previously, the company seemed heavily influenced by European styles, reminiscent of Nederlands Dans Theater (NDT). However, these recent programs suggest a shift, perhaps now bearing a closer resemblance to Complexions Contemporary Ballet, albeit without the explicit ballet influence of Dwight Rhoden. Despite these stylistic shifts and company member turnover, Hubbard Street Dance Chicago maintains its hallmark of high-quality performances and exceptional dancers.
Hubbard Street Dance Chicago Dancers Shota Miyoshi and Simone Stevens perform in “Nevermore” at The Joyce Theater, showcasing Thang Dao’s choreography. Photo by Michelle Reid.
Program 1: March 12th – Dichotomy of a Journey; Nevermore; Dear Frankie
The first program presented a diverse range of works, each with its own distinct character. While the opening two pieces were moderately engaging, it was the final piece that truly resonated, delivering a clear and impactful artistic statement.
Dear Frankie – A Highlight of the Evening
Rennie Harris’s Dear Frankie, a piece that premiered with Hubbard Street Dance Chicago last October, proved to be a standout. This work is a vibrant homage to Frankie Knuckles, the “godfather of House Music,” and the iconic Chicago dance club, The Warehouse. Harris successfully captures the essence of Chicago’s house music scene and its broader cultural impact.
Harris’s program notes emphasize the profound influence of Frankie Knuckles and Chicago DJs on global music, fashion, and culture. Indeed, Frankie Knuckles, arriving in Chicago from New York in 1977, became a pivotal figure at The Warehouse. This club became a sanctuary, especially for the Black and gay communities, offering musical liberation. Knuckles’ innovative DJ sets and remixes were instrumental in the birth of house music, a genre that originated from the “Warehouse” and gained mainstream appeal, even earning Knuckles a Grammy Award in 1997.
Dear Frankie is set to music by Darrin Ross and Harris himself. While not deeply versed in house music, the score effectively provides a pulsating, yet not overwhelming, backdrop for the dance.
Hubbard Street Dance Chicago’s Cyrie Topete in Rennie Harris’s energetic “Dear Frankie,” a tribute to house music legend Frankie Knuckles. Photo by Michelle Reid.
Dear Frankie is undeniably a fun and energetic piece. Harris masterfully crafts a dance filled with dynamic movement that embodies the joy and exuberance of house music and club culture. More than just fast-paced choreography, Harris creates a palpable atmosphere of authenticity. The stage comes alive with what feels like a genuine club experience, a testament to Harris’s choreographic vision.
The structure of Dear Frankie is less about narrative and more about capturing a vibe. Harris skillfully varies the tempo and intensity, seamlessly transitioning between group and solo sections, creating a constantly shifting stage picture. What sets Dear Frankie apart is the emphasis on individual “grooving” and unique movement qualities. From loose and fluid to sharp and angular, the dance reflects the diverse expressions within a club setting. The casual costumes and sneakers further enhance this sense of authenticity, suggesting a focus on the shared experience of music and camaraderie rather than formal performance. The entire Hubbard Street Dance Chicago company embodies the spirit of Dear Frankie, delivering a truly ensemble performance where individual dancers contribute to the collective energy.
Dichotomy of a Journey – A Muddled Concept
Opening the program was Darrell Grand Moultrie’s Dichotomy of a Journey. The choreographer’s program note speaks of “vitality, connection, vision, community, and self-encouragement,” yet the connection to the dance itself remains unclear.
The piece is segmented into sections named after these qualities, interspersed with “Interludes.” Despite segments titled “Vitality,” “Connection,” “Vision,” and “Resilience,” the overall thematic coherence is lacking.
Hubbard Street Dance Chicago performing Darrell Grand Moultrie’s “Dichotomy of a Journey,” a piece exploring themes of vitality and connection. Photo by Michelle Reid.
Set to an eclectic score ranging from Ezio Bosso to Shostakovich, Dichotomy of a Journey presents visually appealing imagery and strong dancing. However, the segments feel disconnected, failing to coalesce into a unified whole. The “dichotomy” itself is nebulous, perhaps hinting at contrasts between musical styles or thematic ideas that remain underdeveloped. While the choreography and performances by Hubbard Street veterans like Jacqueline Burnett and David Schultz, alongside newer dancers, are commendable, the piece ultimately lacks a clear purpose.
Nevermore – An Incoherent Narrative
Thang Dao’s Nevermore, positioned in the middle of the program, proved to be even more perplexing. While not inherently flawed, the piece suffers from a lack of clarity and coherence.
Nevermore attempts to bridge Eastern and Western narratives, drawing parallels between Edgar Allan Poe’s “The Raven” and the Asian folktale “The Cowherd and Weavegirl.” Dao’s program note suggests an exploration of “shared and universal” human experiences of grief and hope.
Michele Dooley and Jack Henderson of Hubbard Street Dance Chicago in Thang Dao’s “Nevermore,” a piece inspired by literary and folklore narratives. Photo by Michelle Reid.
Despite the ambitious concept, the connection between these narratives and the onstage action is tenuous. Recognizable Poe-esque elements, like dancers in black resembling ravens, are present. However, without prior knowledge of “The Cowherd and Weavegirl” folktale, and lacking any program notes to explain it, much of the piece remains opaque to a Western audience. Nevermore ultimately feels like a visually dark and confusing journey, failing to illuminate its intended themes.
Hubbard Street Dance Chicago ensemble in Thang Dao’s “Nevermore,” exploring themes of loss and memory through dance. Photo by Michelle Reid.
Program 2: March 19th – Coltrane’s Favorite Things; Aguas Que Van, Quieren Volver; return to patience
The second program offered a contrasting experience, with the first two pieces proving more engaging and the final piece less compelling.
Coltrane’s Favorite Things – A Jazzy Delight
Lar Lubovitch’s Coltrane’s Favorite Things opened the second program on a high note. This 2010 piece, new to the Hubbard Street Dance Chicago repertoire last year, is an upbeat and joyful work that left the audience thoroughly entertained.
Inspired by John Coltrane’s 1963 jazz interpretation of “My Favorite Things,” Lubovitch’s choreography mirrors the music’s innovative and somewhat deconstructed nature. Coltrane’s rendition transforms the original Sound of Music tune into a sprawling soundscape, far removed from Rodgers & Hammerstein.
Hubbard Street Dance Chicago dancers Simone Stevens and Jack Henderson in Lar Lubovitch’s “Coltrane’s Favorite Things,” a vibrant piece set to jazz music. Photo by Michelle Reid.
Lubovitch draws a parallel between Coltrane’s “sheets of sound” and Jackson Pollock’s “Autumn Rhythm” painting, which is projected as a backdrop. He sees both as utilizing the entire “surface” – sonic and visual – as an action field. While the direct parallel might be debatable (dance inherently possesses more structure than Pollock’s abstract expressionism), Lubovitch successfully creates a dance that resonates with the spirit of Coltrane’s music.
Coltrane’s Favorite Things is structured around groupings of dancers – a duet, quartet, and trio – but maintains a fluid and dynamic quality. The choreography, while rooted in modern dance, embraces the jazzy rhythm and energy of the score. It evokes a similar lightheartedness and joy as Paul Taylor’s Esplanade, though perhaps lacking the same level of choreographic innovation.
Alexandria Best, a dancer with Hubbard Street Dance Chicago, performing in Lar Lubovitch’s “Coltrane’s Favorite Things,” a piece full of energy and movement. Photo by Michelle Reid.
The Hubbard Street dancers appeared to revel in the piece’s vivacity, constantly in motion and seamlessly transitioning between formations. While the choreography is not overtly complex, Lubovitch’s decision to move beyond a literal interpretation of the music allows for visual freedom and athleticism, which the dancers fully embrace. The entire company conveyed the piece’s joyful spirit, with standouts like Morgan Clune, Alexandria Best, and Shota Miyoshi delivering particularly captivating performances.
Aguas Que Van, Quieren Volver – Intriguing and Otherworldly
Rena Butler’s Aguas Que Van, Quieren Volver (“Waters that go, want to return”) offered a stark contrast to the preceding piece. While not conventionally “fun,” this work proved to be choreographically and visually compelling.
The score, curated by Darryl J. Hoffman, combines two Spanish-language songs with a wistful and melancholic tone, creating an unsettling soundscape. Butler’s choreography clearly draws inspiration from the music’s haunting percussion and otherworldly quality.
(l-r) Cyrie Topete, Abdiel Figueroa Reyes, and Shota Miyoshi of Hubbard Street Dance Chicago in Rena Butler’s “Aguas Que Van, Quieren Volver,” an intriguing and evocative piece. Photo by Michelle Reid.
The ascetic visual design, with costumes by Hogan McLaughlin and lighting by Julie E. Ballard, further enhances the piece’s atmosphere. Black garments and stark lighting contribute to an otherworldly stage picture. The interactions between the three dancers (Cyrie Topete, Alysia Johnson, and Shota Miyoshi) are captivatingly strange, suggesting a unique form of physical communication. The choreography incorporates twitches, angular movements, and subtle shifts, creating a constantly evolving, almost sculptural, tableau. The dancers appear isolated yet interconnected, engaging in a private language of movement.
(l=r) Abdiel Figueroa Reyes, Shota Miyoshi, and Cyrie Topete of Hubbard Street Dance Chicago performing Rena Butler’s “Aguas Que Van, Quieren Volver” at The Joyce Theater. Photo by Michelle Reid.
While the meaning of Aguas Que Van, Quieren Volver remains elusive and perhaps intentionally so, its consistent visual and choreographic intrigue makes it a memorable and thought-provoking work.
(l-r) Shota Miyoshi, Abdiel Figueroa Reyes, and Cyrie Topete in Rena Butler’s “Aguas Que Van, Quieren Volver,” a piece characterized by its enigmatic beauty. Photo by Michelle Reid.
return to patience – Visually Striking but Minimalist
Closing the program was Aszure Barton’s return to patience, a piece with impressive credentials, featuring music by Caroline Shaw and costumes from The Juilliard School. However, despite its pedigree, the piece ultimately felt underwhelming.
return to patience initially impresses with its visual impact – fourteen dancers in white costumes against a white stage. The opening tableau, reminiscent of Balanchine’s balletic formations, creates a striking first impression, even briefly referencing Serenade with a first position stance.
However, beyond its monochromatic aesthetic and minimalist choreography, return to patience struggles to hold attention. Group movement is largely static, with occasional dancers breaking away for brief solos before rejoining the ensemble. While fleeting references to “The Thinker” sculpture offer moments of visual interest, the piece lacks significant choreographic development or recurring motifs beyond the pervasive “whiteness.”
The score, while not minimalist itself, samples familiar musical themes, creating a distinct, Chopin-esque ambiance. Shaw describes her composition, “Gustave le Gray,” as a “multi-layered portrait” of Chopin, evoking a sense of time travel between the present and the elegant world of Chopin’s music. This temporal element perhaps mirrors the dance’s structure, with dancers departing and returning to the collective, suggesting a cyclical “return to patience.”
The dance could be interpreted as a commentary on the tension between the rigidity of ballet and the freedom of contemporary dance. The dancers’ departures from the mass, followed by their return, might symbolize a yearning for individual expression within a structured framework. However, if such thematic depth is not intended, return to patience risks becoming a purely aesthetic exercise – visually appealing but ultimately lacking in substance.
Conclusion
Despite some less impactful pieces, Hubbard Street Dance Chicago’s Joyce Theater programs successfully showcased the company’s evolution under Linda-Denise Fisher-Harrell’s direction and the exceptional talent of its dancers. The performances highlighted a company embracing new choreographic voices and directions, suggesting an exciting future for Hubbard Street Dance Chicago. It will be compelling to observe the continued artistic journey of this dynamic and evolving company.
