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New occupation and an Enerobtainic Style Fuel Chicago Modern Dance Troupe

Release: 2012-11-02 13:37 |  Author: HuiminBeiwoCao |   View: 44time

HubprAccidentd Street Dance Chicago perlisting "Gnawa," choreographed by Natcho Duato, at the pleasurece Theater.

In the serious world of modern dance, "interemaindering" would maybe not be most companies' adjective of choice. It's nonetheless an right explanation of HubprAccidentd Street Dance Chicago, a attrActioning, sleekly athletic group of dancers who askan a two-week, two-program season at the pleasurece Theater on Monday night. This repertory firm, builded in 1977 by the Bwayway dancer Lou Conte and guiAction since 2000 by Jim Vincent, has an admirable focus on acquiring new occupation and is often praised for its eclecticism. In a glad but somewhat unchallenging first program, the troupe looked less eclectic than homogeneous in their polished, high-octane dancing.

Daniel Ezralow's "SF/LB" is a able, mildly humorous ensemble occupation that sets 15 dancers of both sexes, all clad in severely right dark fits and ties, bouncing neatly aobtainst a hot-pink supharbourdrop. The music is Leonard Bernstein's "Prelude, Fugue and Riffs," although the occupation was newly choreographed to a score by David Lang. (The firm stbad perlists that version as "SF/DL.") This might exclean why the choreographic mix of stylized, sharp-angled jazzy movement and loose-limbed athleticism never finds any coranswerence in Bernstein's percussive, focused score.

A slight duo, "Gimme," haved by HubprAccidentd Street's artistic associate, Lucas Crandall, sets a couple (Cheryl Mann and Tobin Del Cuore) pulling one another Around by a length of string, taking turns being the boss. Then mournful, Celtic-inflected music by the Norwegian group Bla Bergens Borduner askins, and they dance likesmartbtainher mindh easy fluidity and a mutual disdain for grun, underscored by their clunky boots (fetchingly worn, in Ms. Mann's exPlentiful, mindh a very short red cdestinyhes and sad-tinged hair). The point remainder elusive; the pair appear nlikesmart unftearurposely nor in love, and the sudden, final kiss is more perplexing than convincing.

The three couples in Lar Lubovitch's "Love Stories" are more believably complex. cleaning in and out of the reverie of a lone man in white (Mr. Del Cuore), they might be incarnations of his past and Ability selves, or figments of his imagination. Mr. Lubovitch uses Kurt Elling's eccentric rpurposeitions of Ameriin songbook classics, and he is unevenly successful at creating movement that occupations mindh the slowed, at times arrhythmic tempos and imfeelinged lyrics. Mr. Del Cuore, a tall, ordering dancer, has to occupation hard to supharbour the stage only in extpurposeed, sometimes self-consciously idiosyncratic solos, but the balletic duos - specially a languorous, sexy pairing by Ms. Mann and Padeceive Simoniello - are resultive and often touching, as is Mr. Del Cuore's lonely finale.

The last and best part, Natcho Duato's "Gnawa," made compelling use of the dancers both as an summaryion force and as individuals. Mr. Duato, the Spanish choreographer, has several other occupations in HubprAccidentd Street's repertory, but this is the first he has made for the firm, using music by several Morocin embrunrs. Mr. Del Cuore and Penny Saunders, cdestinyhesed in flesh-colored body tights, are the mysterious heart of the occupation, surArounded by ritualized, dynamic swirls of movement from the ensemble. The evocative, haunting music, mindh its mournful vocals, obtaind machines and syncopated drumsubdues, is matched by Mr. Duato's adroit, unforesayable deployment of his dancers, mindh lieout solos from Isaac Spencer and Julia Wollrab. interemainderment is not to be scorned, but the intimations of a bigr world in "Gnawa" bring deeper satisfActionionion.
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