Dance Triumphs: Luna Negra and SPDW Dance Theatre

Luna Negra Dance Theater...

"'Flabbergast' an unrelenting blast of entertainment" (Chicago Tribune)

"Luna Negra's showing what dance can do" (Chicago Sun-Times)

"Luna Negra Dance Theater joins the ranks of the country's finest mixed-repertory contemporary companies..." (Time Out Chicago)

All the critics agree, this past weekend's performance by Luna Negra at the Harris Theater was spot-on brilliant. A spectacular display of exquisite dancing, beautifully honed artistry and new creative horizons, Luna Negra is raising its own already high bar, and we (the Chicago audience) get to sit back and enjoy the show.

And if you don't trust their opinions, you can trust ours. The show was indeed quite wonderful. My personal favorite work was Spanish choreographer Fernando Hernando Magadan's Naked Ape. It opened with four white-clad dancers standing center stage, flanked in the corners by luminous, three-dimensionally molded articles of clothing, like shirts and pants with invisible wearers. These pieces lit up from the inside, making the scene even more surreal and ghostly. A fifth dancer, clad all in black, observed the group like a detached researcher, speaking in Hungarian as he shaped the dancers' forms when they froze in their movement. The group morphed out of and back into their own series highly original movement that was tense, relaxed, strong, weightless, graceful, forceful, complicated and subtle. Wonderfully nuanced duets and solos emerged. It's hard to describe, but believe me, it was a gorgeous work, using simple yet imaginative imagery to create truly stunning tableaux.

Book-ending Naked Ape was Luis Eduardo Sayago's Solo una Vez, a very likable romp for three men and three women about the challenges and rewards of relationships -- to which we can all relate -- and then Gustavo Ramirez Sansano's wildly hyper but still focused Flabbergast, the kind of work that puts the Latino flair into Luna Negra's repertory just where it fits the best.

Overall it was a remarkable evening of some of the best dance I've seen this season. Should you have missed it this time around, don't make the same mistake next season. Luna Negra is on fire -- muy caliente!!

SPDW Dance Theatre...

And lest you think we're being partial to our clients, another show this past weekend that I cannot rave enough about is Same Planet Different World Dance Theatre's outing at The Dance Center of Columbia College. The debut weekend for the troupe at this ideally-sized dance house, the program of three works offered a lovely and delicious array of the company's many formidable talents.

Joanna Rosenthal's Grey Noise was essentially a character study through dance, the kind of work that puts the "theater" in dance theater, rich in subtext, individuality and unexpectedness.

Carl Flink's HIT was full of just that -- uncompromising, literal and forceful hits, the kind of "take that!" smacks that made the audience visibly and audibly react. I applauded the bravery of both this choreographer, for asking his dancers to be so harsh (and yet so trusting!) with one another, and his dancers for truly going there to make the theme of violence and aggression ring true.

The evening was completed by the silky bittersweetness of Shapiro & Smith's To Have and To Hold, a gorgeous work where the dancers used three long benches to create the simplest yet most profound images. The work's transcendent themes of love, death, loss, and the emphemerality of life were never so profound in a work of dance.

Given the fact that the company sold out its three-night run, I would safely say the performances were a huge success -- commercially and artistically!

And still to come...

The crunch of the dance season came a bit early this spring, happening around late February. But it's not over yet -- this coming weekend brings one of my favorite companies back to the Harris Theater stage -- Hubbard Street Dance Chicago! (The show runs Thurs. through Sun., March 17-20.) The spring engagement brings two Israeli dance powerhouses to the Chicago audience: Ohad Naharin (yay!) and Sharon Eyal. Hubbard Street fans know who Ohad is (re: Minus 16, a HSDC staple), and Sharon is another visionary artist from Tel Aviv's Batsheva Dance Company. HSDC is presenting new works by these artists, and I simply cannot wait! It should be a powerful, beautiful, and very fun program. I hope to see you there!

Joffrey's "Merry Widow" a lighthearted, fleet-footed delight

Last night the curtain rose for the opening performance of The Joffrey Ballet's latest production, Ronald Hynd's The Merry Widow. Widow is a three-act story-ballet adapted from Franz Lehar's operetta of the same title. In order to turn a dialogue-heavy opera into a wordless ballet, Hynd worked with composer John Lanchbery to adapt the original music into something more dance-friendly. Using a combination of lyrical dancing and gestural mime, Hynd tells a story of love and scandal with a glamorous Parisian setting.

But if you think you can just sit back and watch, and then completely grasp what's going on, think again. Pay close attention to those program notes, or you might be asking yourself who that old man is, where that lady in pink came from, and why everyone is constantly swigging champagne.

Allow a little crash-course on the plot: Picture It! Pontevedro, turn of the century. (No, Pontevedro isn't real, it's a made-up French principality.) Pontevedro's bureaucrats realize the country is broke. Ah, but there's a ball coming up at the French Embassy, and look who's on the guest list -- a rich widow, Hanna! And, being far younger than her late husband, she's still quite a catch. So the natural solution is to have Pontevedro's sovereign, Count Danilo, capture Hanna's heart and thus secure her wealth for their country.

Meanwhile, an affair is revealed between Valencienne, a Baron's young wife, and Camille, a young French attache. More on that shortly.

Cut to the ballroom scene, with plenty of sparkly dresses and light-as-air waltzing. Danilo and Hanna meet, but alas, the already know each other! Turns out they met when she was a penniless peasant girl and he was an up-and-coming nobleman. He broke her heart then, but now the tables are turned. Long-scene-short, Hanna and Danilo still have strong feelings for one another but are both too stubborn to admit it.

Two more scenes unfold, and when Valencienne and Camille are almost discovered, Hanna smartly steps in to replace Valencienne, coming up with the rouse that she and Camille are engaged (much to Danilo's chagrin). Still with me?

Cut to the final scene at Chez Maxim, a glitzy French cafe. Valencienne is furious at Camille, poor Camille is almost done over in a duel with the Count, and everyone is beside themselves as to whom Hanna will end up with. While I doubt this will spoil it for anyone, I'll leave out the details for now and suffice it to say that everyone lives "happily ever after."

Now The Merry Widow isn't like last season's Othello, as there's no dark, brooding drama. And it isn't quite like Cinderella, which had everyone enchanted from the first moment with the familiar tale of everyone's favorite rags-to-riches sweetheart. But nonetheless, The Merry Widow is a lighthearted, charming and rich ballet full of absolutely gorgeous dancing. Hynd constantly surprises you with his choreography, adding a creative tilt of the head, an unexpected lift, or a beguilingly supple line just when you think you know what's coming next. The evening is magical, the characters endearing, and the Joffrey shines doing what they do best -- a little of everything!

Promoting A Mayoral Debate: Exit Comfort Zone, Enter Spin Zone

So vis-a-vis our relatively new client, Chicago Tribune Special Events, Laura Silverman and I had the rare opportunity to promote and staff a major political event: the recent televised Chicago Tribune/City Club of Chicago Mayoral Debate (aired live from WGN TV studios). Scheduled participants (in alpha order): Carol Moseley Braun, Gery Chico, Miguel del Valle, and Rahm Emanuel. Was a good challenge to step out of our comfort zone (which is promoting the arts to reporters with whom we've worked for years) and instead communicate with a new group of press with new types of questions (predominantly related to the technical aspects of the broadcast and the sharing of "pool" photography and video). Not to mention, with the timing of this debate in particular, Emanuel was in limbo as to whether his name was to be included on the ballot or not (based on ongoing residency challenge). He fully intended to participate in the debate - the Tribune had kept him on lineup- and the affirmative decision was actually handed down by the Illinois Supreme Court within an hour and 1/2 of the live debate airing! Given the confab of candidates and cameras all gathered at WGN TV's north side studio, that was definitely the place to be for anyone following the campaign.

But first, a quick summary of the preliminary publicity work that got us to that place.



Advance efforts were typical of other special events we're promoted, basically drafting and distributing a press release and then following up with the media to secure advance coverage and on-site attendance. However, there were two key differences: (a) We didn't have at our disposal a local "political" media list, since we don't usually dabble in that arena, so a list needed to be compiled ASAP and thanks to some good old fashioned sleuthing (Hello, Google!), it was not too laborious. (b) Among the myriad more technical rules about how to secure footage via Chicago Switch (a connector of broadcast signals so that other TV stations could pull video from WGN TV) was the disclaimer that only one reporter per media outlet would be allowed to cover the debate on site and needed to RSVP to me within 48 hours of debate. Apparently much of the technical info was written in invisible ink as I started getting requests to bring their own cameras (no), to bring a producer (um, no) and to bring a third reporter from their newspaper (NO!). That said, I did persuade client to allow the Sun Times to bring a second reporter just because it felt like right thing to do, although ultimately only one showed but I'm glad we made allowance.

Despite the tenuous situation with Emanuel's residency status hearing, from a press standpoint, it was all going smoothly - all the A-list media were accounted for and ready to attend (and get all necessary audio and visual feeds) - until the day of the debate. Suddenly, out of the woodwork popped up some of the aforementioned reporters requesting a ticket even though their media outlet was already set, not to mention one "reporter" who somehow managed not to have seen or heard anything about the Debate until within 5 hours of it taking place, when we had turned down others because of capacity, and then accused me of playing unfair and threatening "you haven't heard the last of me" (and I didn't, and will perhaps explain later).

So, off the phone and flash forward some five hours, our job was to man the "Spin Room." And yes that's what it was called.



(Outside the Spin Room was the main entrance to the actual Debate studio, and there was tight security there. It was funny seeing a very hirsute former Alderman Burt Natarus getting wanded, as though he was a threat of any sort.) So basically, we monitored the room where the press were allowed to sit and watch the Debate on a big screen TV, as it happened live in the studio next door. Most of the press that RSVP'd actually showed up, but given the breaking news about the residency issue being resolved, some reporters ended stuck at their desks it turns out. From a publicist-geek standpoint, was interesting to see the "old school media" (Carol Marin, WMAQ TV) who propped their laptops on a table (replicating a desk top computer?) and plugging in, while the younger crowd (Sam Hudzik, WBEZ FM) balanced laptops on their lap. The oldest of the old (Mike Flannery, WFLD TV) took notes on a pad of paper!

The two most contentious during Debate were, not surprisingly, Emanuel and Chico- and their constant name dropping (of the President and Mayor, respectively) got old quickly.

Then, following the Debate, the four candidates were shepherded in to take FIVE MINUTES of questions from the group, press conference-style. Really, the canned-idates answered the questions from the press with the same canned responses they'd provided in the Debate so there were no revelations but I think the press at least appreciated the perception of one-on-one time.

Glad to have "worked" only one debate... and I still don't understand the Rahm tax.

O hey, It's the new guy...

Well hey everybody, this is officially my first personal blog post as a new member of The Silverman Group Chicago so I'll take a second to introduce myself. My name is Demetrius and I'm a current senior at Columbia College Chicago, in my last semester after 5 grueling years in America's higher education system. I hail from the lovely Midwest town of Kansas City, MO and this is my 3rd year in the Windy City. The arts have been my personal love attachment since i was just a runny nose kid playing Lego's and my opportunity to be a part of the artistic community here in Chicago comes at the perfect time.I came from a stint at the alternative weekly newspaper, The Chicago Reader and The Silverman Group has welcomed me with open arms and let me dive head first into some fun and unique projects that they are a part of here. I'm excited about my tenure with this hip organization, and yes, they are about as hip as it gets :). I have the opportunity to play a big part in the publicity for the Peace on Earth Film Festival which is to take place February 25-27 at the Chicago Cultural Center's Claudia Cassidy Theatre which I'm extremely excited about and invite everyone to take part in some portion of the festival. February is going to be a big month for us with The Joffrey Ballet's performance of "The Merry Widow", Avalon String Quartet, John Lequizamo@ the Royal George Theatre and many other exciting events that will keep all of you art and culture junkies foaming at the mouth. Chicago is the place to be for entertainment and all of us lovely personnel here at the Silverman Group will make sure that you know about some great events happening here in the City. Well anyway, back to work, i would love to hear some of your responses about events that you have attended and your overall feedback on the blog!

Cheers,
Demetrius

Peace on Earth Film Festival 2011 (POEFF)

The 2011 Peace on Earth Film Festival (POEFF), along with the Board of Directors of Transcendence Global Media, will showcase an intriguing exploration of film in the areas of peace, nonviolence, social justice and an eco-balanced world at the Chicago Cultural Center’s Claudia Cassidy Theater, 78 East Washington, Friday, February 25 through Sunday, February 27. All screenings are free and open to the public.

“The Peace on Earth Film Festival was designed to encourage filmmakers to craft films in the genre of peace, nonviolence, social justice and an eco-balanced world,” says POEFF Executive Director Nick Angotti. “However, we have taken the festival beyond showing films and awarding filmmakers and have helped showcase Chicago’s effort for peace and environmental protection while providing an education element to the audience".The 30 films being screened were chosen from a field of 148 international films addressing similar topics.

Admission to all screenings and events are free and open to the public on a first come, first served basis and held at the Chicago Cultural Center’s Claudia Cassidy Theater, 78 E. Washington Street, Chicago. For more information visit www.peaceonearthfilmfestival.org.

Your MLK Day Cultural Activities

So you have the day off on Monday for the Martin Luther King, Jr. holiday, and you're wondering how to fill your day while at the same time honoring the reason you're off in the first place. Allow us two fun and culturally active suggestions:

African Dance Master Class at Joffrey Ballet

Hosted by the Academy of Dance, Official School of the Joffrey Ballet, this class will be led by Andrea Vinson accompanied by live drummers Deshon Newman and Seneke. Open to adults and kids age 10 and up, this fun and lively class is perfect for the whole family. And no dance experience is required -- it's appropriate for all skill levels. So come learn some groovy African moves while celebrating Dr. King's civil rights legacy.

• 12:30-1:30 pm
• At Joffrey Tower, 10 E. Randolph St. (between Wabash and State)
• $10 per person
• Register in advance by calling 312-784-4600. Walk-up registration may be available.
• More info: http://www.joffrey.org/academy/classes/martin-luther-king-jr-day-january-17

Chicago Sinfonietta presents A Dream Unfolds, Annual MLK Tribute

In this beloved musical tradition, guest conductor Leslie B. Dunner joins Sinfonietta Founder Paul Freeman in a celebration of Dr. King's pioneering steps forward, allowing listeners to reflect -- through beautiful and stirring classical music -- on his indelible mark on American history. This will be an especially moving event because it will be Maestro Freeman's final time leading this program, as he will retire at the end of the current season. The highlight of the program will be Gershwin's classic folk opera Porgy and Bess, arranged for orchestra by Robert Fussell Bennett, where the Sinfonietta will be joined by vocalists from the Chicago Community Chorus.

• 7:30 pm
• At Orchestra Hall of Symphony Center, 220 S. Michigan Ave.
• Tickets range from $26 - $96
• For tickets call 312-236-3681 ext. 2, or available by walk-up at the Box Office
• More info: www.chicagosinfonietta.org

Even if you don't have the day off, don't let Winter keep you inside -- take this opportunity to enjoy some good ol' Chicago culture. Hopefully we'll see you there!

Care to dance?

My, my, it's a busy season for dance in Chicago. It seems it happens this way every fall and every spring, all the dance events are piled around the same time. What's a dance fan to do? Why, get out and enjoy it!

We just had a couple of modern dance festivals wrap up. Weekend before last we saw the final run of The OTHER Dance Festival, a three-week showcase of some of Chicago's most adventurous modern dance companies and independent artists. We also saw the inaugural Harvest Chicago Contemporary Dance Festival, a three-night showcase with a different line-up of artists and companies each night. This is a brand new fest, so look for the roster to get steadily stronger as the producers get a few more years under their belts.

This past weekend was the fall engagement of Hubbard Street Dance Chicago, and what a show! Resident choreographer Alejandro Cerrudo presented two new works, Blanco and Deep Down Dos, both of which were beautiful and beautifully danced. Always a "cinematic" kind of choreographer, Cerrudo displays a masterful control of the stage image and is never short on inventive, original theatrical devices. We also saw Victor Quijada's new work, the hip-hop-infused PHYSIKAL LINGUISTIKS, which was a fun piece that allowed the dancers to explore some new movement vocabularies. And then came the delicious dessert that was Nacho Duato's Archangelo, the last section of which was worth the ticket price alone. It was truly stunning.

Coming up, one can't overlook two of my favorites (and--full disclosure--our clients), The Joffrey Ballet and Luna Negra Dance Theater. Joffrey is presenting a selection of ballet heavyweights in All Stars (maybe the title "Top Choreographer Masters" was taken), which runs October 13-24 at the Auditorium Theatre. The program includes George Balanchine's Stravinsky Violin Concerto and Tarantella, Christopher Wheeldon's After the Rain, and Jerome Robbins' The Concert (Or the Perils of Everybody). I don't know which piece I'm more excited for-- Stravinsky is devilishly difficult, with super fast tempos and hard-to-count rhythms. It will be a task for the dancers, but they're up to it. The Concert is also hilarious, with some zany, over-the-top characters. It's a beautiful example of exactly what Robbins was best at, combining physical comedy with stellar dance technique. Don't miss your chance to see the beauty and fun, get tickets here.

Luna Negra is presenting the first season under new Artistic Director Gustavo Ramirez Sansano in one performance only on Saturday, October 16 at the Harris Theater, which is followed by the annual Noche de Luna gala. The program for the performance will showcase a brand new duet by Gustavo called Toda una Vida ("All My Life") inspired by his mother and father and their endearing (and enduring) love, the kind of love that keeps people together through thick and thin. They will also present a North American Premiere by Brazilian choreographer Fernando Melo called Bate (pronounced "batche," which means "heartbeat" in Portuguese), a work for five men that balances a touch of humor with some powerhouse movement, including one section where the men, laying prone on their stomachs, literally pop off the ground like popcorn (I'm still not sure how they do it). And rounding out the program will be Luna Negra founder Eduardo Vilaro's Deshar Alhat ("Leave Sunday"), which was inspired by the Sephardic Jews in Latin America and their struggles and trials. It's a beautiful, non-linear piece for the whole company--who are looking especially strong these days--and the music, by Stefani Valadez, is poignant, bittersweet, and haunting. Get your tickets here.

A few others I'm looking forward to this season (this is by far not an exhaustive list): the all-female, Afro-Cuban-infused group Lizt Alfonso Dance Cuba stops by the Auditorium Theatre, Oct. 28-29; Ballet Hispanico visits Chicago with Eduardo Vilaro now at the artistic head, at the Harris Theater, Nov. 5; SPDW Dance Theatre and Hedwig Dances co-presented Walking...Drifting, which runs at the Hamlin Park Fieldhouse, Nov. 4-5 and 11-12; and the Chicago Human Rhythm Project presents Global Rhythms IV, an extravaganza of jazz, tap, hip-hop and other rhythm-based dance companies, at the Harris Theater, Nov. 26-28. Fall is the perfect season to "fall" in love with dance, so get out there and take advantage of all the beautiful work!

Photos by Herbert Migdoll, Cheryl Mann and Jonathan Mackoff.