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Hubbard Street: Festival + Workshop

Hubbard Street: Festival + Workshop


Tuesday, May 21, 2013 - 11:55am

danc(e)volve New Works Festival + Inside/Out Choreographic Workshop

danc(e)volve: New Works Festival
June 6, 8, 9, 13–16, 2013 ADDED BY DEMAND: June 16 at 3 pm

CHICAGO – Responding to popular demand, Hubbard Street Dance Chicago announces the addition of an eighth performance during its danc(e)volve: New Works Festival, June 6–16, 2013 at the Museum of Contemporary Art Chicago (MCA, 220 East Chicago Avenue in Chicago).

Tickets are 5 and on sale now for the added show, at 3 pm on Sunday, June 16. Seven performances previously announced — on June 6 at 7:30 pm, June 8 at 8 pm, June 9 at 3 pm, June 14 at 8 pm, and June 13, 15 and 16 at 7:30 pm — are nearly sold out.

Each danc(e)volve: New Works Festival performance features seven works:

Two new works by Hubbard Street 2 Director Terence Marling
stop…stop…stop. (6 minutes) presents a lighthearted riff on power dynamics and miscommunication, featuring a young couple attempting to converse through fragmented voiceover, scrambled gestures, and the interruptions of a showman. Marling’s original score for stop…stop…stop. includes selections from Patricia by Cuban bandleader Dámaso Pérez Prado, popularly known as the “King of the Mambo.” The second work choreographed by Marling is set to the third Ruhevoll movement of Gustav Mahler’s Symphony No. 4 in G major and is 9 minutes long. Both works feature both main company and HS2 members.

Adalea, 15 minutes
Choreographed by Hubbard Street dancer Penny Saunders
Penny Saunders created Adalea as a farewell to Hubbard Street. She retires this summer after nine years with the company. Adalea is one of the names selected for her first born child. The piece includes vignettes based on universal rites of passage and choreography by Saunders originally developed for Chicago’s Benjamin Wardell and Michel Rodriguez Cintra. Adalea is set to music by Vincenzo Bellini, Tigran Mansurian, Göran Söllscher, and Antonio Vivaldi; mixed by Hubbard Street 2 Director Terence Marling.

Agape, 17 minutes
Choreographed by Hubbard Street 2 dancer Andrew Wright
Agape marks Andrew Wright’s mainstage choreographic debut and is set to music by Goldmund (Keith Kenniff), Jóhann Jóhannsson, and Pan Sonic. Agape features all six of Wright’s colleagues in HS2: Brandon Lee Alley, Alicia Delgadillo, Emilie Leriche, Felicia McBride, Lissa Smith, and Richard Walters. Agape seeks to demonstrate the Greek word that means selfless, altruistic love.

For the Wandered, 18 minutes
Choreographed by Hubbard Street dancer Jonathan Fredrickson
Jonathan Fredrickson says For the Wandered, “is a piece for people who feel they’ve lost their way.” His Untitled Landscape from the first danc(e)volve: New Works Festival at MCA Stage in January 2012 joined the company’s repertoire for its 2013–14 season and was performed in Algeria, Morocco and Spain. For the Wandered features text by Fredrickson and Hubbard Street dancer Alice Klock; music by Johann Sebastian Bach, Ludwig van Beethoven, William Basinski, and Tim Hecker; and designs by Branimira Ivanova and Chicago-based visual artist Melena Ausikaitis.

Grey Horses, 19 minutes
Choreographed by former Hubbard Street dancer Robyn Mineko Williams
With a score by Chicago-based musician Robert F. Haynes, Grey Horses follows up on Williams’ Recall, that premiered during danc(e)volve: New Works Festival at MCA Stage in January 2012, and was subsequently awarded a Joyce Theater Foundation commission.

Special presentation...
A special presentation on the program, to be titled, is by Hubbard Street dancers and staff who traveled to Algeria, Morocco, and Spain in March and April 2013, to perform and lead workshops in dance education as part of DanceMotion USA, a program of the Bureau of Educational and Cultural Affairs of the U.S. Department of State and the Brooklyn Academy of Music.

Premieres for danc(e)volve: New Works Festival are created through Hubbard Street’s Choreographic Development Initiative. This project is partially supported by a grant from the Elizabeth F. Cheney Foundation and by the Illinois Arts Council, a state agency. At the heart of Hubbard Street’s vision is an ambition to advance contemporary dance, requiring experimentation and innovation. The three programming components of Hubbard Street’s Choreographic Development Initiative are the Inside/Out Choreographic Workshop, the National Choreographic Competition (NCC) and danc(e)volve: New Works Festival.

Inside/Out returns for a 12th year with two performances on July 6, 2013, at 5 pm and 8 pm, at the UIC Theatre (1040 West Harrison Street in Chicago). Tickets for Inside/Out — 5 (preferred “VIP” seating) and 0 (general admission) — will be available beginning Tuesday, June 4, online at hubbardstreetdance.com or by phone at 312-850-9744. • Hubbard Street 2 initiated the National Choreographic Competition in 1999 as part of its mission to identify and nurture young choreographers. Each year, the competition provides residencies allowing choreographers the opportunity to create original works for Hubbard Street 2 and conduct master classes for the community. The NCC has gained an esteemed reputation and international recognition, and has produced nearly 30 World Premieres.

• Hubbard Street launched its Inside/Out Choreographic Workshop in 2001, to provide a yearly opportunity for its company dancers and artistic team members to develop their choreographic skills and their understanding of all elements of dance production, including rehearsal management, marketing, creative rights, and costume and lighting design.

• Works and choreographers identified through both programs above are eligible for inclusion in each danc(e)volve: New Works Festival, which opportunity provides artists with still more production support and rehearsal time. From danc(e)volve: New Works Festival, selected works are brought into active repertoire for the main company and/or Hubbard Street 2, and performed during domestic and international touring engagements.
Hubbard Street believes this three-pronged model of selecting works for its repertoire can be a national model for artistic development, while proactively diversifying contemporary concert dance.

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