Highly Recommended **** Fellow Chicagoans, the air is crisp, the leaves are dazzling, it is fall in our fair city and, halleluiah, dance season is finally here. So, all you dance lovers out there, lace up your toe-tappers because, if the first two season openers are any indication, we are in for quite a treat!
Last Wednesday the Joffrey Ballet kicked off its 2019-20 season in stunning fashion with its rendition of Jane Eyre at the Auditorium Theatre. Tonight, Giordano Dance Chicago followed suit with their characteristic pomp and pizazz in a spectacular, high-energy program combining GDC favorites with a world premier show-stopper by award-winning choreographer, Peter Chu.
Starting its 57th season, Giordano Dance Chicago is one of the longest running professional dance companies in the city (and the nation, for that matter) and is an artistic treasure we should cherish. With their vast repertoire of more than 165 original works combined with the technical virtuosity and versatility of the troupe, is it any wonder that they continue to delight and astound audiences citywide?!
The centerpiece of tonight’s lineup was the world-premiere of Peter Chu’s “Groove, in formed,” the second, full-length piece he has choreographed for the company. His first work, “Divided Against,” (2016) was a masterful tour de force and he continues to grow his legacy in bold and striking ways with “Groove.”
Chu, a graduate of the famed Juilliard, studied jazz dance as a primary technique while in training, forging in him a deep appreciation for and understanding of the polyrhythms and history that so profoundly impact and shape this style of dance. Channeling such deep-rooted knowledge, Chu set out to create, in “Groove, in formed,” a dance that would marry the steps and rhythms at the heart and soul of jazz dance with the superbly versatile and varied Giordano technique. With original music, utilizing plenty of horns and intoxicating jazz beats, and composed by long-time collaborator Jake Kelberman, this dance celebrates both individuality and unity. It is a testament to the healing power of solidarity and connectedness in times of sadness and grief as well as in times of love and joy.
The dance begins on a sparsely lit stage with a group pulse, a series of still-life poses that gradually slide into smooth, syncopated, movements that form “the groove.” The classical jazz beats make you want to gyrate in your seat as the entire company moves from shadow to light and back again in what feels like an inspired improv of movement and dance that comes together in complete synchronization and harmony by the end of the work. “Groove, in formed” is jazz brought to life through dance and even more than that a commentary on life. Individuals make up societies, we do not have to lose ourselves to be part of the whole. The genius of this work is in how what appears to be individual, isolated dance movements actually informs the collective community on stage underlying the interconnectedness of everything, even in a seemingly disconnected world. A true masterwork for this time.
Opening tonight’s program was Alberto Arias “Surrender” (1999), the first time the company has danced the piece in 18 years. Soft and romantic, dramatic and theatrical, the work follows seven dancers as they melodically maneuver their way through all facets of a relationship. Adam Houston and Linnea Stureson begin with a Latin-inspired duet that both sizzles and electrifies. They are followed by the one solo dance of the piece, a soul-searching lament of longing and pursuit, performed by Senior Dancer Zachary Heller. Natasha Overturff and Jacob Frazier are all playful affection and flirtation in their duet, while the finale brings the three couples back on stage together in a crescendo that embodies grace, beauty and a melodious coming together.
Next, we were treated to another look at Mirinda Davis’s heart-rending, prophetic ballet “Flickers,” (2019) which premiered last spring and has been called a genre unto itself. Utilizing the whole company and featuring Jacob Frazier as a kind of Christ-like figure, Davis’s masterpiece sweeps us along on a journey from darkness to light as we witness Frazier’s dramatic struggle for survival. Davis, who suffers from eight auto-immune disorders, is no stranger to anguish and “Flickers” is a sensational homage to the battles and desperation in life and the redemption that comes in never losing hope, in turning toward the light, and continuing in the face of everything to reaching for the sky.
Randy Duncan’s transcendent “Can’t Take This Away” (1997) closed this evening’s entertainment in sublime fashion. Set to the a capepella vocals of the Bourné family singers, who perform live on stage with the dancers, the heavenly aura and utter jubilation of the piece just washes over you. If this is heaven, please sign me up – the effusion of love and joy is palpable. The 16 dancers in flowing fuchsia and red-toned costumes looked like they had wings as they careened and leaped across the stage. A favorite of founding director, Gus Giordano’s, this miraculous dance continues to inspire and uplift, culminating in a jubilant rush of dancers into the aisles and then back again to the stage, enveloping all of us in their joyous and triumphant feat.
Giordano Dance Chicago’s Fall Engagement takes place October 25-26, at the Harris Theater for Music and Dance, 205 E. Randolph Dr., with all of the exuberance, vitality, technical precision, and joyousness of spirit we have come to expect from this troupe. GDC continues to push the boundaries of jazz and contemporary dance in electric and cutting-edge directions. Imbued with the power of dance, Giordano Dance Chicago is one company not to be missed.
To see what is happening this season, visit www.giordanodance.org
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