Aud Blog

Does love conquer all? A look at love through Giselle

noreply@blogger.com (Guest Author) — Thu, 09 Feb 2012 13:03:32 PST

By Katie Brown, Sales Associate

Believe it or not, Giselle is one of the most popular ballets among the dance community. Young dancers all around the country take the time to learn and master variations from Giselle for various competitions and auditions.

And guess what? You already know the story! Giselle is a love story with themes you’ve seen through other mediums. In fact, we know most of the plots of famous ballets because of movies, TV, and Disney. For instance, we all know the story of The Nutcracker from watching cartoon TV parodies as children. We know the story of Swan Lake due to the recent popular movie Black Swan. And thanks to Disney, we know the beautiful story of Sleeping Beauty. But, what about the other story ballets? Where did we hear the story of Giselle? The only way to know that is to hear the full story.

Giselle is the story of love, betrayal, and forgiveness. It is truly a story that raises the question “does love conquer all?”

Giselle is a young, energetic girl who loves to dance. She lives with her mother in a small village, where it is not safe at night, especially in the woods. It is believed that mystical beings called the Wilis live in the woods. The Wilis are women once deceived by their lovers, who then died of despair and were left for the rest of eternity dancing in the woods to nurse their aching hearts.

All of the boys and girls in the village are warned about the Wilis, who dislike all men and force them to dance to death if caught in the woods. Girls who love to dance, like Giselle, are more desirable to young men and are therefore more likely to have their hearts broken and end up as Wilis. Giselle’s mother does not want to lose her daughter to a broken heart, so she constantly warns Giselle to be careful.

In Act One, Giselle, our carefree and loving protagonist, falls in love with a man she believes is named Loys; however his real name is Albrecht and he is a prince. Albrecht is engaged to a princess, but ends up falling in love with Giselle at first sight. In order to see Giselle and keep his engagement a secret, he hides his true identity and meets with Giselle in disguise.

Giselle and Loys, Albrecht in disguise, spend their days together in the village. They laugh, socialize and dance. Despite all of the fun and happiness, trouble lurks in the shadows. Hilarion, a young boy and Giselle’s friend, discovers Albrecht’s secret and is distraught by the deception and lies he leads Giselle to believe. Hilarion plans to uncover the truth. He brings Albrecht’s royal clothes and sword to the center of the Village, and there Hilarion exposes Albrecht’s secret, reveling his real engagement and betrayal to Giselle.

Giselle is shocked and goes into a state of despair and hopelessness. She goes around pulling on her hair and making mad gestures to everyone standing by. Unable to live with the truth any longer, Giselle dies of hopelessness and a broken heart.

Act Two takes the audience to the forest, where Giselle’s grave lies. Her grave is simple, with a cross on top. She has become one of the Wilis and is summoned by Myrta, the Queen of the Wilis to spend her time following Myrta’s commands, dancing, and aching from losing her one true love.

One night, Albrecht goes into the forest to bring lilies to Giselle’s grave. When he looks up, all the Wilis are around him, but he only recognizes one of the Wilis, Giselle.

Giselle takes pity on the guilt-ridden, depressed Albrecht and dances with him. Meanwhile, the other Wilis find and capture Hilarion, who was also in the woods looking for Giselle’s grave. They force him to dance until he dies of exhaustion.

Once they finish dancing, Myrta and the Wilis notice Albrecht is still present. Giselle tells Albrecht to seek refuge on her grave and he hides, clutching to the cross for his life. But because Giselle is a Wilis, she is forced to obey Myrta’s commands. She then brings Albrecht away from her grave and dances with him.

Myrta and the other Wilis are in awe of the beautiful, graceful dancing between Albrecht and Giselle. The two dance until the sun begins to rise. Once the first glimmer of light is clear over the horizon, the Wilis fade into the darkness and return to their graves. Albrecht, weak from dancing, begs Giselle to stay.

Regardless of the sunlight, Giselle stays with Albrecht until the very last moment. When she realizes she has saved him from death of exhaustion, she returns to her grave and Albrecht is left in the forest, weeping for his loss.

Giselle found it in her heart to forgive Albrecht when she took pity on him. She realized that despite all the pain he caused her, she loved him unconditionally.

So riddle me this, does Giselle’s actions prove the common ideal that love conquers all? Now that you know the plot, it’s time to decide for yourself.

American Ballet Theatre’s performance of Giselle plays from March 22-25 on the Auditorium Theatre stage.

For subscriptions or groups of 10 plus, please call 312.431.2357.

For single tickets, visit ticketmaster.com/auditorium

Special Subscriber Dance Event

noreply@blogger.com (Steve McQuown) — Fri, 03 Feb 2012 09:26:23 PST

Monday, March 5 | 5:30-7:30 pm | Berghoff Restaurant, 17 W. Adams

Subscribe to our spring dance performances (listed below) and receive a special invitation to a dance presentation by Lucia Mauro, arts writer and dance critic. Lucia will provide a video presentation as well as the back-story on how these respected three dance companies began and where they're at in their creative development today. Tickets are free with a three-show dance subscription or $10 with a two-show subscription. Learn more about Lucia at LuciaMauro.com.

Batsheva Dance Company
Max and B/olero by Ohad Naharin
March 17 at 7:30 pm and March 18 at 2:00 pm
See them HERE on YouTube!

American Ballet Theatre
Giselle
March 22-25, Times vary
See the HERE on YouTube

Alvin Ailey American Dance Theater
April 11-15, Times vary
See the HERE on YouTube

For subscriptions or groups of 10 plus, please call 312.431.2357.

For single tickets, visit ticketmaster.com/auditorium

Spring Dance at the Auditorium Theatre

noreply@blogger.com (Steve McQuown) — Wed, 25 Jan 2012 12:42:22 PST

The Auditorium Theatre is excited to present three unique dance companies this spring, offering a wide-range of performances for any dance fan. We invite you to come to our landmark theatre to experience an old favorite or see something completely new!

Subscribe today and save up to 15%

Batsheva Dance Company

Max and B/olero by Ohad Naharin
March 17 at 7:30 pm and March 18 at 2:00 pm

Get lost in Naharin’s movement world, Gaga, as his dancers search and explore the origin and essence of movement, examining formations, time and space. "…this is as max as it gets." -The New York Times

“Max transports and confounds, confuses and elucidates.”
– San Diego Arts

Batsheva Dance Company photo by Gadi Dagon.

American Ballet Theatre

Giselle
March 22-25, Times vary

In a perfect fusion of music, movement and drama, this quintessential Romantic ballet epitomizes the transcendent power of love and forgiveness. American Ballet Theatre’s unrivaled roster of international ballet stars brings Giselle’s mystery and ethereal beauty vividly to life in this universally acclaimed production, performed with live music by the Chicago Sinfonietta.

“To see American Ballet Theatre at its best, is to see it in Giselle.”
–The New York Times

For casting*, please visit our website.
*Casting subject to change. Photo: David Hallberg in Giselle. By Rosalie O’Connor. © American Ballet Theatre. All rights reserved.

Alvin Ailey American Dance Theater
April 11-15, Times vary

Let Alvin Ailey American Dance Theater's gorgeous dancers lift your spirits as they perform thrilling premieres and new productions plus returning audience favorites. Experience the power of Ailey and see for yourself why this extraordinary company is hailed as America's cultural ambassador to the world and "possibly the most successful modern dance company on the planet." (The New York Times)

For programming*, please visit our website.
*Programming subject to change. 2011-2012 SEASON IMAGE - Alvin Ailey American Dance Theater's Kirven James Boyd. Photo by Andrew Eccles.

Ways to order:

Phone: 800.982.Arts (2787)
Online: Ticketmaster.com
Box Office: 50 E. Congress Pkwy
Groups 10+: 312.431.2357

Too Hot to Handel, Year 5 [Stories from the Choir Part 2]

noreply@blogger.com (Guest Author) — Wed, 11 Jan 2012 12:31:54 PST

Save $10 on tickets to Too Hot to Handel: The Jazz Gospel Messiah by using code SOCIAL. Click HERE to purchase.

By Althea L. Ward-Curtis

Welcome to my story of my history with Too Hot to Handel: The Jazz-Gospel Messiah. This is the fifth year that I have been a choir member with this diverse volunteer group. Five years!? It hardly seems that much time has passed.

Five years ago I received an unsolicited invitation from the Auditorium Theatre to audition for an upcoming performance called Too Hot to Handel: The Jazz-Gospel Messiah. I was flattered that someone must have heard my melodic vocalizing while I was pumping gas, or perhaps as I was walking my dog, or maybe it was all of those years singing under the direction of Herman Spier (miss you and Anne, man!!) who held a position at the Music Conservatory that had got me this lucky (but well deserved, of course), audition break. Whatever the reason (it wasn't Herman), whomever the connection, my name was located, an email was sent, and I was invited to audition for a performance that would be delivered from the world renowned stage of the Auditorium. My big break was finally about to become a reality!! Who could possibly have known that I belonged on stage? I couldn't respond quickly enough to confirm my desire to audition and participate in a musically diverse performance of the Messiah.

I auditioned. Then, self-doubt arose and I thought maybe they had me confused with another Althea and that she showed up and pretended to be me and...

I sat in front of my email, refusing to work, sleep, eat or drink with my hand positioned on the phone in case the good news be delivered via a faceless voice in my ear. I left a note on the mailbox inviting the mailman to walk right in and place the results of my Auditorium audition in my free hand in the event that it came by mail. I was determined to receive my good news fresh from the sender with no lapse in time. I had considered camping out at the audition location, or at the Auditorium, but decided that unless I sang while waiting, they wouldn't know it was me and my answer would be sent to my home anyway. My decision to stay home was the right choice, and my waiting in the aforementioned state was rewarded with the official invitation to accept the role of volunteer choir member in the THTH Choir. YAHOOO!!! This was a "BIG TO DO". It was going to be me "LIVE from Congress Parkway" singing Handel with variation!

I was completely thrilled, told everyone I knew and threw myself into learning the music. Five years ago.

I have auditioned every year since then and pray my voice remains an asset to this moving, exciting, fun composition. The people that I invited the very first year I performed with this choir have been audience members ever since. They tell their friends, who tell their friends and...you know the rest. This performance continues to be a source of pure joy for those that experience it, whether as an audience member or as choir member. I have been tempted to become an audience participant, but I just love singing it too much.

Next year when I audition, I will look for you, dear reader, to join me in learning and performing this version of the Messiah. It is a piece that creates harmony, not only in its natural musical form, but also in the hearts of those that attend and participate in the performances. It is pure delight. I cannot thank the unknown connection enough for bringing this music into my life five years ago. Thank you Auditorium Theatre for listening to that unknown connection and offering an audition invitation to this woman to be a part of harmony beyond measure.

Celebrating MLK Through Music [Stories from the Choir Part 1]

noreply@blogger.com (Steve McQuown) — Fri, 06 Jan 2012 09:24:17 PST

Save $10 on tickets to Too Hot to Handel: The Jazz Gospel Messiah by using code SOCIAL. Click HERE to purchase.

By Michelle Rathel

Picture this: there’s a new show premiering at the Auditorium Theatre in January 2006 with soloists Rodrick Dixon and Victor Trent Cook; we’re not too familiar with Alfreda Burke at this point, but it all sounds promising. There is also a birthday outing planned for a group to attend the premier of this new show. One of the birthday group members is a singer who loves Cook, Dixon and Young and is totally excited about this musical production. She also knows some of the choir and orchestra members in the show as well. Somehow, she missed the chance to be part of the choir, but wanted to not only see this one-time event, but to also support her fellow musicians and singers. She’s sitting in the audience, totally mesmerized and blown away by what she hears in front of her. She has done the Messiah more times than she can count and has even done some of the Quincy Jones’ version with vocal groups. But now there’s this new version – part jazz, part gospel, part original Handel, all great sounds that mesh together into a foot-tapping, hand-clapping, celebration that totally blows her away. Rodrick, Alfreda and Victor are totally off the chain. So begins the Too Hot to Handel “bug” that has taken Chicago by storm in the past few years, and that particular singer in the audience on that cold January afternoon has now been singing in Too Hot every year(except last season due to family challenges.)

And so the journey begins. She not only helps to spread the word about this marvel of a production, but also signs up to work as an Ambassador to assist the staff with marketing ideas, ticket sales and spreading the word. She has totally caught the “bug” and she comes back every year. She eagerly tells everyone she knows, and many she doesn’t know, about the best Messiah version since the original Handel. This “bug” is infectious – and it spreads each season, so there are many new faces in the audiences each year—and they keep coming! So here she is in January 2012 sharing her experiences with any who will read! She’s looking to keep this “bug” in circulation. It’s one that heals and spreads joy to all who attend, and it just keeps getting better and better.

This season has been especially special for me, as I had to miss singing in last season’s performances. But, I was in the audience with bells on, singing right along with my choir. It’s a good experience to be able to sit out to see how the music affects the audience, as we can barely see them depending on where the lights hit us while we’re on stage. I also got to see what the audience sees, and that helped me get back up there next time.

We’ve had some great “newbies” this year who have caught the “bug” and it’s been a pleasure working along them to rehearse each week. I’ve adopted several new members, coaching them, encouraging them, and just sharing with them to get them pumped and primed for the upcoming weekend. It’s a great feeling to be able to help the new members along and let them know that yeah – it’s a lot of music, and yeah we have to memorize some, but you’ll get it. I promise! You can’t help but get it – it’s so much fun! And soloist Karen Marie has been with us for, I think, her 3^rd season and is doing a great job. She’s so much fun and the choir loves her energy.

Working with the Auditorium staff is the best. They take good care of their choir and Ambassadors, and keep things moving in the background. It’s so great to work with the Ambassadors and get groups in to see this production every year. On the Friday before the run, we have school groups come in to get a taste of this awesome music, making it an educational experience for them as well.

I would encourage everyone to at least see this show once in their lifetime. It literally sends you out feeling different from when you entered the theater. You drop all of your cares and just relax, release and get into the music. You smile for most of the show because the music hits you like that. And you might even shed a tear as one of the soloists hit notes that seem to float in the air, landing in every ear in the audience - moving them, inspiring them, encouraging them, embracing them, ministering to them and making them happy and carefree. As many times as I’ve done this show, I always learn something new, and I always hear something different that I didn’t hear before. This music keeps you moving and makes your whole being tingle and jump for joy when you hear it. Some of us come to rehearsals after a hard day at work and by the time we leave rehearsal we have a renewed energy and a second wind. The pressures of the day have floated away and we hum this music all the way home. And we keep humming all week, because it just hits you like that. You can’t let it go or put it down. That’s how you know you’ve got the “bug” and you can’t wait for next year. You don’t want to say goodbye to each other, and some of us choir members connect on Facebook and keep in any way possible until we come back together again in the Fall. The “bug” gets air born once again until next year, where new folks catch it and either sing or attend. And so on, and so on, and so on.

So here we are approaching the 2012 production. The choir has rehearsed, and Bill is working out some last minute details so that we are as polished a possible. Bill tends to bring something new to the table every year, so even the veterans don’t get bored with doing this show each season. You get hooked in a good way and you have to come back. Suddenly, it’s like you’re not complete until you get back to Too Hot choir rehearsals.

So we’ll see you there. Because you just have to experience this! You have to check it out. And you don’t have to call the doctor to take care of this “bug.” The music is all the “medicine” you’ll ever need.

Too Hot to Handel CPS Poetry Contest

noreply@blogger.com (Steve McQuown) — Wed, 28 Dec 2011 07:31:09 PST

Each January, the Auditorium Theatre presents Too Hot To Handel as a celebration of Dr. Martin Luther King, Jr. This year, we have invited Chicago Public School students grade 3-12 to write an original poem celebrating Dr. King's vision of the beloved community. The finalists' poems are below; vote for your favorite today!

To save $10 on tickets to Too Hot to Handel: The Jazz-Gospel Messiah, click HERE.

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Segregation
By: Ashelee W. – 8^th grader
Ted Lenart Regional Gifted Center

Segreg ation,

Dr. King put that space there,
No more separate restrooms, no more inferior judgment

Segreg ation

Dr. King put that space there,
We don’t have to bow our heads or move to the back

Segreg ation

Dr. King put that space there,
Our communities can finally be one
Black and White merge in a spectacular sight;
Better jobs, better living, better relationships

Integration,

Dr. King took that space out,
Everyone together, in unity forever!

Unity is Community
By: Sarah A. – 8^th grader
Edison Park Elementary

One million starts with one.
This is followed by a chain reaction.
I see a storming ocean
It does not want to be cleansed
It needs new fish.
Pure water,
Calm waves.
But the water is being polluted,
Even when we try to make it serene.
We showed our care physically.
Now we need to become one.
In unison,
We are stronger.
All we need is love and the act of accepting one another,
To calm these waters.
This ocean.
This community.

An Ideal Community
By: Nia H. – 8^th grader
Ted Lenart Regional Gifted Center

Dr. King had a dream, and I have one too.
It involves all people whether they’re black or blue
I just want to have unity
You and me laughing and playing for everyone to see
United we stand, together we bend
Never any cliques or clans
Dr. King had a dream and I have one too.
It involves all people including me and you.

Enter Optimism
By: Emily W. – 7^th grader
Edison Park Elementary

Introduce yourself to neighbors which surround,
Pervasive enthusiasm sure gets around
Faint gestures journey a great extent,
Assist at the hospital every now and then
Gather peers, tutor for the test.
Consistently act at your personal best.
A smile offers bliss to strangers passing by,
Provide manners to elders, do not be shy!
Embrace beauteous nature every minute, every day.
A beloved community shall enter your way.

Love is the Only Way
By: Casey W. – 4^th grader
Decatur Classical School

The aftermath of violence
Never turns out right
No acceptance
Darkness all night

Love is the only way
To bring light to our lives
When freedom rules the day
Our beloved community thrives

A Beloved Community
By: Joseph P. – 4^th grader
Decatur Classical School

A beloved community’s hearts beat as one,
They work as one group to get the job done.

Not one of them is more respected or treated like a king,
If they were a choir, in unison, they’d sing.

Though they may not share the same opinions, thoughts, or hopes,
They’ll never leave each other’s side, like tightly bound ropes.

A beloved community respects one another,
There is love for all as they help each other.

Dr. King’s message inspired like a song,
A beloved community makes all feel like they belong.

Beloved Community
By: Kimberly G. – 5^th grader
Decatur Classical School

All of the people will learn we are one
When we of all races together will run

There will be freedom from wall to wall,
Country to country, freedom for all

This place will be beautiful, very pretty
This place will be our beloved community

Oh What A Man He Was
By: Nihal K. – 5^th grader
Decatur Classical School

Martin Luther King, Martin Luther King
Oh what a man he was
He had a dream, and he followed it
Oh what a man he was
Martin Luther King, Martin Luther King
Oh what a man he was
He believed everyone could come together
Oh what a man he was
Segregation would still be here
If it weren’t for MLK
Thank you, thank you MLK
Oh what a man he was.

Martin Luther King’s Beloved Community
By: Zahire S. – 3^rd grader
George Pullman Elementary School

Brotherhood, equality, nonviolence and love –
Martin Luther King’s beloved community
Tolerance, color blindness, sharing and caring –
Martin Luther King’s beloved community
Integration, living in true harmony –
Martin Luther King’s dream of a beloved community!

Talking Nutcracker with Joffrey Dancer Derrick Agnoletti

noreply@blogger.com (Steve McQuown) — Thu, 08 Dec 2011 13:46:35 PST

Join us as we sit down with Derrick Agnoletti, a Joffrey dancer that has been with us for almost ten years, as we discuss the upcoming Nutcracker performances (Dec. 9-27). Visit www.joffrey.org/nut for more information and tickets.

Why is the Joffrey Nutcracker special to you?

Joffrey's Nutcracker is very special to me because I not only enjoy dancing it, but I enjoy all of its elements, from the characters that exist in this particular version to the quick speeds of the choreography. I think of all the Nutcrackers that I have participated in and seen, this one has the most dancing for both the men and women. It uses the whole company. Everyone's roles color the ballet to make a stunning picture. It is also very special to me because when I first came to the Joffrey as an apprentice, I got to see amazing artistry and dancing demonstrated through this ballet, it was so inspiring.

What’s your favorite role in The Nutcracker?

I have to say, I always love dancing Fritz/Snow Prince because I was a wild little kid, but the role that sticks out the most to me as really fun is playing one of the head butlers in the party scene. You are completely responsible for making the party scene work logistically as well as developing a character. I have fun, interchanging, personalities with this character. Some nights I’m very fussy and annoyed with all the guests and their demands and other nights the other butler and I pretend to encourage Fritz and his naughty behavior. I like the hustle of it, especially if I go into snow or battle after.

Do you have any funny stories/favorite memories of performing The Nutcracker?

Yes...During my very first week of shows I was put into the role of The Butler. The Butler is part of the magic when revealing the Nutcracker doll. I can't give away how it happens, but I can say that it’s a prop I am responsible for and I couldn't find it because it was not pre-set. I thought I was going to have a heart attack! Luckily, the Drosselmeyer that was on that night knew exactly where it was and ran to get it. Company members were making me freak out even more on stage by saying "'oooooooooooo, you are so fired"... I really thought I was.

What do you do for the holidays?

In the past years, we usually dance Christmas Eve and then have the next day off for Christmas. I love Christmas so it’s hard to be away from my big Italian family. This time of the year always reminds me of the fun that my brothers and I have had throughout our childhood years. However, the dancers usually get together on Christmas day at someone's house for a big feast. A few years in a row Joffrey dancer Valerie Robin has held it at her and her husband’s house. She is an incredible cook. We all play games, eat and relax together. It’s sort of like family away from family.

Why should our readers come to see The Nutcracker?

Joffrey's Nutcracker is truly the best. I can understand when people say "Oh, I've seen it already," but in all honesty each year it changes. There are a lot of new dancers dancing fantastic new roles. The company has a youthful vibrant look to it that will be refreshing for all to see. I feel that it’s important to come every year because you will always see something new. Especially with the Chicago Sinfonietta's wonderful live music.

Is touring Nutcracker any different than performing it in the city?

Sometimes. The stages are all different sizes and shapes. Sometimes the set is too big or too small for the stage. The children's cast changes in each city also.

What is your earliest memory of The Nutcracker?

Probably seeing the New York City Ballet's version live for the first time. I remember thinking it was so cool that it was actually snowing on stage (at the time I wasn't dancing so I thought it was real)!

As a dancer, what is most challenging about performing The Nutcracker?

Nutcracker is challenging for the whole company. I still struggle getting the technicalities of the steps as well as getting the musicality down correctly. The snow scene, choreographed by Gerald Arpino, is very fast with a lot of petite allegro jumps, and yet you still have to hold your spacing and do the port de bras in the Arpino style (it’s a little more angular and sharper than classical ballet port de bras). I have been dancing it for many years but it is still something I have to work at to keep clean. I also think staying in good physical health is one of the biggest concerns. We do a lot of shows and alternate a lot of parts so you have to stay in top shape. I make sure to take class (keeps my stamina up and my technique building) and go to physical therapy (they give us exercises to build strength and stay uninjured).

For all the behind-the-scenes magic, be sure to follow the Joffrey on our official blog at http://jpointe.blogspot.com.

Jr. Board Devil's Ball Photos!

noreply@blogger.com (Steve McQuown) — Wed, 07 Dec 2011 11:58:25 PST

The Devil’s Ball: A Night in Old Chicago was the inaugural gala event hosted by the Auditorium Theatre’s Junior Board, commemorating old Chicago in all its excess and splendor. On 11/11/11, guests enjoyed a silent auction, food, libations and music in the elegant lobby of the National Historic Landmark, Auditorium Theatre, as well as the opportunity to take historic and backstage tours of the theatre. As you can tell from our event photos below, we had a wonderful evening celebrating a time toward the end of the nineteenth century when Chicago, as well as the Auditorium, was coming into its own on the world stage while proudly embracing its industrial clout and evolving cultural prominence.

Auditorium Featured in WTTW 's Interactive City Tour

noreply@blogger.com (Steve McQuown) — Thu, 01 Dec 2011 13:31:27 PST

The Auditorium Theatre is featured in WTTW's "Explore the Loop" online tour! Check out this unique online experience for video, photos, and info on the Auditorium Theatre and many other landmarks and attractions in the Loop.

"What makes a city, a city? Is it the buildings? The people? Is it what happened here 100 years ago — or what is happening right now?

To find out, we invite you to join us in an urban adventure with WTTW host, writer, and producer Geoffrey Baer’s new multimedia tour through Chicago’s downtown Loop. Explore this site. Listen to the audio stories of the everyday people who inhabit the Loop. Take the tour yourself, with our audio download. Watch the show wherever you are.

We know you’ll find one answer for sure. Chicago’s Loop is one of the great American city spaces. Discover its history, architecture, excitement — and most of all, stories." - WTTW

The Mystique Helps to Illuminate Our Past

noreply@blogger.com (Guest Author) — Wed, 30 Nov 2011 11:01:04 PST

By Joelle Weber

As the holidays approach, and our season takes another turn toward a large line-up of shows, we wanted to take a moment and share a story that featured something unique, yet familiar—the architectural wonder that is the Auditorium Theatre itself.

Back at the beginning of the year, a DePaul student film crew under the direction of Nick Vassil picked two locations in which to film their inspiring short, The Mystique, a touching story about a magician’s last day employed at a Vaudeville theatre succumbing to the changes of the 1932 Chicago Depression. The Auditorium Theatre is featured prominently in this short film, from the familiar lobby shots, to the grand spectacle of the arched proscenium stage.

“In searching for a location for The Mystique, we wanted to keep the story as authentic as possible,” says Vassil. “The preservation of the Auditorium was amazing, and capturing the ornate architecture of that time period, as well as utilizing such a large space, was an important story element in the film.”

The crew spent two days filming in the space, for a total of 16 hours of work time. Although this was a very limited amount of time to capture what was needed for the film, Vassil praised the talents of his creative cast and crew, the Auditorium’s dedicated staff, as well as the ease of working in the theatre saying, “The footage speaks for itself. The authenticity of the space allowed us to live in the moment, rather than just acting for the camera.”

The last film to feature the Auditorium’s lobby was Michael Mann’s Public Enemies. The Mystique features shots of the main lobby, box office, upper dress circle lobby, stage fly system and of course, the famous house interior.

A version of The Mystique made its film festival debut at the Premiere VI festival at the Music Box Theater on June 6, 2011. It took home Best Sound Design and Best Production Design for the cut submitted. The film is currently being tweaked for additional festival entries this year.

Find more info about the film HERE.

Celebrate the Holidays with the Auditorium!

noreply@blogger.com (Steve McQuown) — Mon, 28 Nov 2011 13:58:14 PST

We are ringing in this holiday season with shows for every audience! Bring the family, bring a date, or just bring yourself to one of our live theatre, dance, and music events, all presented in Chicago's Historic Auditorium Theatre!

Boston Pops Esplanade Orchestra
with Rockapella, 2011 Holiday Pops Tour

Dates: Wednesday, November 30, 2011
Times: 7:30 pm
Price: $127-$32

For the first time ever, "America's Orchestra" joins America's leading a cappella group for an unforgettable holiday show.

Dave Koz and Friends, Christmas Tour 2011
Presented by Live Nation

Dates: Friday, December 2, 2011
Times: 8:00 pm
Price: $87-$47

The Joffrey Ballet, The Nutcracker

Dates: Friday, December 9- Tuesday, December 27, 2011
Price: $130-$30

America’s #1 Nutcracker and a Chicago holiday tradition!
Photo by Herbert Migdoll. Dancers Victoria Jaiani, Fabrice Calmels.

The Disco Biscuits
Presented by Silver Wrapper

Dates: Friday, December 30, 2011 & Saturday, December 31, 2011
Times: Doors at 7:30 pm both nights
Price: $67-$32

Also hosted at the Auditorium Theatre:

Willow Creek Chicago: A Chicago Christmas

Dates: December 4, 2011
Times: 10:00am, 2:00pm and 5:00pm
Price: Free

Experience this compelling, modern retelling of the Christmas story through film, music and dance.
Childcare provided at 10 AM service for ages two and younger.

A Conversation about Physically Integrated Dance

noreply@blogger.com (Steve McQuown) — Fri, 18 Nov 2011 14:36:48 PST

On Wed. Nov. 9th, professionals from the Chicago dance and disability community gathered at Access Living for "From Aspiration to Artist, a Conversation about Physically Integrated Dance in Chicago." At this event, a panel of integrated dance leaders spoke about disability in the performing arts, sharing their opinions and experiences and answering questions from the
audience.

Members of our panel spoke passionately about the future of integrated dance; each is working to expand and strengthen the field and can be a great resource for dancers, choreographers and company leaders with and without disabilities - please use the links provided to learn more about these artists and the work they are doing. The panel for the evening included:
Larry Ippel and Stephanie Clemens of Momenta

"Choosing to be integrated is a commitment from the Artistic Director, not a one time thing." - Clemens
"We fought to get the changes made to make public transit accessible...sometime it just requires a little bit of a fight." - Ippel
"It's exciting to see you all here, but what are you going to do about these issues when you go home tonight?" - Ippel

Jessica Martin, Dancer and Choreographer from Momenta

"I like dance because there are no rules. The people I dance with are like my second family." - Martin

Alana Wallace of Dance Detour

"People think the quality of the company will be "cute" or "inspiring" - integrated dance is about more than that." - Wallace

Lucia Mauro, Dance Writer

"Integrated dance is a sort of therapy, but it is more than that. It is artistic expression and people need to know that." - Mauro

Elizabeth Millman of the Joffrey Ballet's Academy

"At the Academy we don't turn any people away from our classes. All are welcome." - Millman

Citlali Lopez-Ortiz, Integrated Dance Instructor

"I think bringing integration into any performance adds to how we perceive our own humanity." - Lopez-Ortiz

Carrie Sandahl, Associate Prof. in the Dept. Of Disability and Human Development at U of I

"We need to create the art that is cool enough for non-accessible spaces to NEED to make the change." - Sandahl

The Auditorium Theatre is dedicated to providing equal opportunities for performers with and without disabilities. Brett Batterson of the Auditorium Theatre stressed, "As long as physically integrated dance meets our criteria for programing, we will continue to bring these wonderful companies."

We are excited to be presenting AXIS Dance Company this weekend at the Auditorium Theatre. Tickets can be purchased HERE. Save $10 by using code SOCIAL.

A Message from Variety, the Children's Charity of Illinois

noreply@blogger.com (Guest Author) — Wed, 16 Nov 2011 14:29:00 PST

Hi!

My name is Mike Murillo, and I’m one of the event coordinators at Variety, the Children’s Charity of Illinois. Variety is really excited to be one of the sponsors for the AXIS Dance Company’s performance at the Auditorium Theatre on November 19th and 20th.

Variety’s mission is to provide funding and services for programs that strive to alleviate suffering and improve the quality of life for children who are mentally and physically challenged, abused, sick, homeless or underprivileged. Our “Kids on the Go” program is dedicated to helping children with disabilities participate in some of the same activities as their able-bodied friends, such as bike riding, sports and dance. I enjoy seeing young people with disabilities just as active as anyone else!

As a recent addition to the Variety team, I was not educated on physically integrated dance, but after attending the AXIS panel discussion last Wednesday, at Access Living, I was really moved and gained a huge an appreciation for the art form. What I learned was that physically integrated dance is about the beauty of the human form and appreciating the movement of each individual. The individuals performing are interested in being seen for how their art inspires people’s perceptions of the opportunities the human body can create, regardless of physical ability.

I am inspired by the philosophy and mindset that physically integrated dance hopes to shift the way that society looks at disability. Whereas traditionally a lot of society sees physically disabled individuals as more helpless and less capable than able-bodied people, physically integrated dance is an avenue to the possibility that we as humans are all capable of amazingly creative and technical ability. I really believe that physically integrated dance, and activities like it, can begin to shift the society’s perspective of what being disabled is, from a medical view to a more social view, including looking at physical handicaps through the lens of social barriers, attitudes towards disability, and possibilities to better integrate individuals into society, which is also a goal of Variety of Illinois.

Finally, I’m really excited to see the AXIS Dance Company perform. They are one of the premier integrated dance companies in the US and it is going to be an honor to see and support them at the Auditorium Theater. I really hope that you join me in seeing the performance!

If you would like to continue the dialog, please “like” Variety on Facebook at www.facebook.com/varietyofillinois.

Dancing with the BAD BOYS: Rasta Thomas in Conversation

noreply@blogger.com (Steve McQuown) — Thu, 10 Nov 2011 14:14:08 PST

$15 Student Rush Tickets AXIS Dance Company

noreply@blogger.com (Steve McQuown) — Tue, 08 Nov 2011 15:08:56 PST

AXIS Dance Company
Saturday, November 19 at 7:30pm
Sunday, November 20 at 2:00pm

Featured on So You Think You Can Dance!
Discover that the human body and spirit know no bounds when you attend AXIS Dance Company. Based in Oakland, CA, this innovative and unique company uses dancers with and without disabilities. Click here for more info.

Get Student Rush Tickets
In person at the Auditorium box office (50 E. Congress Pkwy) One hour before show time Two tickets per valid college

ID NOTE: Student Rush tickets are last minute tickets sold at the discretion of the presenter. Policies may vary. Tickets and locations are subject to availability and cannot be reserved in advance.

Auditorium Theatre's Devil's Ball: A Night in Old Chicago

noreply@blogger.com (Steve McQuown) — Mon, 07 Nov 2011 10:04:03 PST

The Auditorium Theatre Junior Board is excited to host their first major fundraising event, The Devil’s Ball: A Night in Old Chicago next Friday, November 11, 2011. This cocktail party will feature music, hors d'oeuvres and an auction in the historic and elegant lobby of the Auditorium Theatre. We expect 300 young professionals from throughout the Chicago area to attend this inaugural celebration.

The Junior Board continues to focus on unique ways to fulfill its mission of increasing awareness of the Theatre’s educational efforts and programming and raising funds for the restoration and preservation of the national historical landmark Auditorium building.

In keeping with the theme of the year of Preserving Our Past and Building Our Future, the Junior Board is excited to make their mark in history with this unique event in such a historic space.

Tickets are currently on sale for $75 each. The ticket price includes cocktails, hors d’oeurves, entertaining tours for those who are interested in exploring more of the theatre, a DJ, photobooth and silent auction! Hope to see you there! Tickets can be reserved by calling 312.922.2110, ext. 368 or by clicking here. If purchasing online, use code: BALL.

*Online tickets will require an additional $1.25 Ticketmaster Fast Fee for each ticket.

AXIS Dance - Change the Way You Think

noreply@blogger.com (Steve McQuown) — Fri, 04 Nov 2011 10:50:22 PDT

Hello, Chicago! Are you ready to change the way you think about dance and the possibilities of the human body forever?

I'm Sebastian Grubb and have been a dancer with AXIS Dance Company for 2.5 years. We are really excited about coming to Chicago and performing at the beautiful Auditorium Theatre on November 19th and 20th.

AXIS Dance Company has become world-renowned for its work in the field of contemporary dance. The company includes both dancers with and without physical disabilities and this divergent starting point has become a potent tool for making revolutionary dances. Aside from being known for its cutting-edge and original works, the company has also become known for its bold athleticism.

AXIS regularly commissions choreographers from around the world to make work on our dancers. This means our dance performance in Chicago will include a strong artistic diversity of works made by: Alex Ketley, David Dorfman, and the UK-based Marc Brew.

Brew's piece, "Full of Words," was created this past September/October during a grueling and inspiring 5-week rehearsal intensive (see our AXIS blog). It features three duets performed in three domestic environments created on stage: a dining room, a bathroom, a living room.
"Words" is designed to give the audience a glimpse into distinct lives and conversations, running parallel to each other and full of dynamism and powerful, innovative partnering.

"Full of Words" requires different set pieces and each theater we tour to has to collect those pieces for us. One of the challenges is to work with these new sets every time we come to a new theater, which adds an extra dimension to the touring component. When we get to see our Chicago bathtub, table and armchair, we'll know what we have to do to adapt the choreography to fit the new pieces.

We are looking forward to bringing Vessel, Light Shelter, and Full of Words to Chicago and can't wait to hear what you think of them!

Preserving Our Past…Building Our Future [video & photos]

noreply@blogger.com (Steve McQuown) — Thu, 03 Nov 2011 10:20:06 PDT

A big "thank you" to all of you that attended the Auditorium Theatre 2011 Gala: Preserving Our Past…Building Our Future. Your generosity is greatly appreciated!

Every year, we look toward our Gala with anticipation and excitement. This year, however, we were especially thrilled to honor Harry Weese the famed Chicago architect that volunteered his services to restoring the Auditorium Theatre back to its former elegance in the 1960s.

We also saluted Sumner Sollitt, who worked alongside Mr. Weese to oversee the entire project as well as his beloved wife Brenda, who dedicated endless time and support to the Theatre for over 30 years. Their contributions have been instrumental to the Auditorium’s success, and their efforts will forever be ingrained in the future of our treasured landmark.

For those of you who did not attend, here is the video that was shown during the gala and some photos from the evening, which included performances by Tony Award-nominated Broadway star Christine Andreas and children from Hands Together, Heart to Art (a unique program, utilizing the arts, created for children who have lost one or both of their parents). Food, drink, and fun (both a silent and live auction) completed the evening.

$15 Student Rush Offer - Bad Boys

noreply@blogger.com (Steve McQuown) — Wed, 02 Nov 2011 10:48:25 PDT

Rasta Thomas' BAD BOYS of DANCE
Saturday, November 5 at 7:30 pm
Sunday, November 6 at 2:00 pm

Featured on So You Think You Can Dance!
Boogie with the BAD BOYS to songs by The Black Eyed Peas, Michael Jackson, Journey, Coldplay, U2 and more! You won't want to miss the best dance moves to the coolest songs performed by a group of the cutest guys.

Get Student Rush Tickets
In person at the Auditorium box office (50 E. Congress Pkwy)
One hour before show time
Two tickets per valid college ID

NOTE: Student Rush tickets are last minute tickets sold at the discretion of the presenter. Policies may vary. Tickets and locations are subject to availability and cannot be reserved in advance.

Drumline Live! – A True Art Form of the HBCU Marching Band

noreply@blogger.com (Guest Author) — Wed, 02 Nov 2011 08:53:53 PDT

By Brian Snell – Drumline Live! Drum Major

DRUMLINE LIVE is this weekend! Click HERE for ticket info.

The HBCU (Historically Black Colleges and Universities) Marching Band has easily become, in my opinion, a true art form. Sometimes referred to as “show bands,” this spin-off of more traditional marching band styles began to take shape post-Civil War during the Reformation period. During this time, philanthropists, freed slaves, religious organizations, and even federal legislation, were establishing institutions of higher learning, for African-Americans, across the nation.

Between the 1940’s and 1960’s, flourishing band programs were established at institutions like Tuskegee University, Florida A&M University, and Tennessee State University, just to name a few. These Marching Bands performed extremely entertaining and creative shows that incorporated musical influences of African-American culture such as gospel, Rhythm and Blues, and jazz, while still maintaining the traditional repertoire and aspects of Marches. These bands also began to integrate dance routines and choreography to their performances, which further related to, and appealed to, the culture of its members and audiences and beyond.

Now that the history lesson is over, I can tell you what really made me understand the appeal of what we do. Drumline Live! has performed throughout the United States, and has been well received all over the country, but I must say that the international tour, in which the cast traveled to Japan and South Korea, really opened my eyes as to how special our craft is world-wide. Don’t get me wrong, our fans in the States are wonderful and we feel the appreciation and love night after night, but overseas is on a whole different level! To say we’re treated like Rockstars would be and understatement. The energy, excitement, and appreciation from foreign audiences is like nothing I’ve ever experienced! I’ve seen fans ask for autographs, trembling with tears in their eyes because they were so excited about our show and seeing us up close!

The most amazing thing to me is that people on the opposite side of the planet, could enjoy and appreciate what I’ve taken for granted for most of my life as just “Marching Band.” This is when I realized that no one else in the world does what we do! Drumline Live! takes the steps to demonstrate an art that is completely unique to the HBCU culture and the United States, and brings it to audiences worldwide. If that isn’t an aspect of a true art form, I don’t know what is.

Meet the BAD BOYS!

noreply@blogger.com (Steve McQuown) — Fri, 21 Oct 2011 15:19:05 PDT

BAD BOYS OF DANCE was founded by dance superstar Rasta Thomas in 2007. Today the company brings their magic to the masses, giving over 150 shows a year and has performed for over 500,000 fans worldwide. BBD dancers have performed on Broadway, been in Feature Films, and have been adored by millions on hit TV shows like "Dancing with the Stars". In 2010 they performed at Carnegie Hall in NYC with Sir Elton John for a Rainforest charity event also starring Lady Gaga, Sting, Bruce Springsteen and more. In 2011 they made a special guest performance on FOX's "SO YOU THINK YOU CAN DANCE" and are currently touring the world with their hit shows "ROCK the Ballet" & "Tap Stars".

Enter HERE to win free tickets to the show!
or Buy tickets HERE

Who's Who

RASTA THOMAS (Artistic Director) Rasta Thomas was born in San Francisco, California in 1981 and raised in Riyadh, Saudi Arabia. Rasta studied at the world-renowned Kirov Academy in Washington D.C. As a teenager, Rasta made dance competition history with honors including the Special Jury Prize from the 1994 Paris International Dance Competition, the Gold Medal in the Junior Men's Division from the 1996 Varna International Ballet Competition, and the Gold Medal in the Senior Men's Division from the Jackson, MS USA-IBC. In 2001 Rasta was the first American to become a member of the Kirov Ballet in St. Petersburg, Russia and then in 2003 he joined Dance Theatre of Harlem. He has performed at the White House for the President of the United States and has appeared at Harlem's famous "Apollo Theater". In 2005, Rasta starred on Broadway in Twyla Tharp's hit musical, "Movin' Out". Rasta is the founding director of "Bad Boys of Dance" and in 2008 he created the international hit show Rasta Thomas' "Rock The Ballet".www.rastathomas.com

ADRIENNE CANTERNA-THOMAS (Choreographer/Dancer) Kirov Academy of Ballet scholarship graduate, Adrienne Canterna, is the recipient of numerous national and international awards including the 1998 Women's Junior Gold Medal at the USA International Ballet Competition in Jackson, Mississippi. As a Principal guest ballerina she danced the roles of Gamzatti in "La Bayadere", the Sugar Plum Fairy in "The Nutcracker", and Kitri in "Don Quixote" with the Universal Ballet in Seoul, Korea. She has appeared in numerous galas including the prestigious "Les Gala des Etoiles" where she performed "LeCorsaire" pas de deux with international ballet star, Carlos Acosta. Adrienne travels the world as a dancer, master teacher, choreographer and judge. She can be seen as a ballet soloist in the motion picture "Step Up". Adrienne is the choreographer of the international hit show Rasta Thomas' ROCK the Ballet & the founder and Artistic Director of "Pretty Girls of Dance". www.prettygirlsofdance.com

JAMES BOYD (Bad Boy) James was born and raised in Jacksonville, Florida and started dancing at age eleven at Dansations Performing Arts Center. His training led him to earn his B.F.A from Suny Purchase College in 2010. Mr. Boyd became fluent in ballet, jazz, hiphop, breakdance, modern and tap. James has received numerous scholarships from the conventions L.A.D.F., Urban Jamm, Company Dance and N.Y.C.D.A.

RYAN CARLSON (Bad Boy) Ryan was born and raised in Jacksonville, Florida. He began his dance training at age eleven at Center Stage Dance Company. Ryan has trained in ballet, jazz, modern, lyrical, contemporary, hip hop and gymnastics. He is a graduate from Douglas Anderson School of the Arts and has received many awards as a competition dancer including Teen Mr. Dance of Florida. Ryan is a member of the award winning “Systematic” dance crew with recognition as the winner of BET’s "Best Dance Crew". He has been a featured dancer in several music videos and TV commercials.

LEE GUMBS (Bad Boy) Lee Gumbs started dancing at age 5 and by 7 he received scholarships for ballet & jazz classes. Shortly after he started signing himself up for more classes without permission! This is when his mom realized this was more than a hobby. He went on to win numerous regional & national dance competitions. Lee started traveling solo at 15 to L.A., New York, Las Vegas & Virginia Beach to take advantage of scholarships he had won. At 16 he was the first boy chosen by Dance Spirit magazine as 1 of the top 3 cover models out of thousands of entries.

BRANDT MARTINEZ (Bad Boy) Brandt is originally from Peoria Arizona, Brandt trained at a very young age at Spisak Dance Academy in Ballet, Tap, Jazz, and Hip Hop. Then later furthered his dance education at Tempe Dance Academy where he learned many different styles that make him the versatile dancer he is today. Brandt has been a featured dancer in the International Dance Alliance where he toured over 5 countries in Europe. Brandt has worked with many choreographers such as Tabitha and Napoleon, Tyce Diorio, TOKYO, Joe Lanteri, Joey Dowling, and Jason Parsons. Brandt has been a featured dancer in the annual show, “The Spirit of Christmas” located in Phoenix, Arizona for the past two years.

SHANE OHMER (Bad Boy) Originally from Cincinnati, Ohio, Shane began his dance training at the High School For Creative and Performing Arts. Upon an early graduation, he finished his training in Pacific Northwest Ballet School's Professional Division. He has danced in Pacific Northwest Ballet, River North Chicago Dance Company, Les Grands Ballets Canadiens de Montreal and most recently has been a guest artist for numerous companies around the world. Shane has toured extensively throughout the US, Canada, the Middle East, and Europe performing in works by Mats Ek, Ohad Naharin, Stijn Celis, Nacho Duato, William Forsythe, and George Balanchine. Recently, he created choreography for celebrity fashion designers The Blonds in NY Fashion week. Besides dancing, Shane has been a runway model in NY Fashion week for Commonwealth Utilities and Armani Exchange and was featured in GQ and GAP Press Magazines.

TIM OlSON (Bad Boy) Tim Olson originally resides from Anoka, MN. Dancing since the age of 3, and teaching since 15, Tim now 21 has studied various styles of dance including Jazz, Tap, Ballet, Contemporary and Hip Hop at Northland School of Dance and other various schools of dance including Broadway Dance Center and Steps on Broadway etc... His achievements include 2004 national teen title at West Coast Dance Explosion, 2005 Tanzsommer Dance Festival in Austria, and top 3 senior male at NYCDA. Tim this past year danced with Odyssey Dance Theater in Salt Lake City, Utah. Performing productions such as “ It’s a Wonderful Life”, “ Giselle”, and “ Romeo and Juliet”. Tim is continuing to pursue his dreams and goals and is excited about the future projects coming up.

PHILLIP CARMAN (Resident Director/Ballet Master) Former Artistic Director of the Maryland Ballet, Mr. Carman has enjoyed an illustrious career in the ballet. As a member of the PA Ballet, National Ballet of Canada, Les Grands Ballets Canadiens, & Tanz Projekt Munchen, he has amassed a wealth of experience. Phillip has served as a Cultural Ambassador in Italy, and his choreography continues to receive enthusiastic reviews in Europe and the USA. He enjoys his work as an international competitions' coach, judging top dance competitions and serving as Artistic Director of St. Paul Chamber Ballet.

Drumlines - Marching through History

noreply@blogger.com (Steve McQuown) — Wed, 02 Nov 2011 08:55:09 PDT

Historically Black Colleges and Universities (HBCU) are institutions of higher learning that were established before 1964 with the intention of serving the African American community. There are more than 100 historically black colleges in the United States, located almost exclusively in the Southeast.

The HBCU were established after the Civil War as places of dignity and hope where young people had an opportunity to become professionals instead of maids or laborers. Along with the private black colleges and universities founded later by the AMA, these reconstruction era schools became the backbone of higher education for African Americans.

It was in these bastions of higher education that the tradition of the show style marching band was born. The tradition began over fifty years ago at Florida A&M University, which has been long considered the nation’s preeminent black college marching band school. HBCU marching bands began, as most do, as support for the college football team. They have since grown into a sport of their own, featuring characteristic high stepping, funky dance rhythms, and exciting musical repertoire ranging from classical to Top 40.

Celebrations of HBCU marching culminate in competitions such as the Big Southern Classic and the Bayou Classic. These competitions, which draw audiences of roughly 60,000 fans each, are a testament to the popularity of the sport. But it is only recently, with films such as Drumline, and backed by a flurry of high profile marching band appearances, that this tradition has begun to capture the imagination of the American public.

Check out these other great videos about Marching Bands and HBCUs:

http://www.youtube.com/watch?v=-UyufNy2hrI&feature=related
http://www.youtube.com/watch?v=ZNfDXfA0HC0&feature=relmfu
http://www.youtube.com/watch?v=5iOCHiuLOnM

Take Education Outside of the Classroom

noreply@blogger.com (Nicole Wetzell) — Fri, 14 Oct 2011 16:01:26 PDT

Educators and student groups have the fun and affordable opportunity to take education outside of the classroom by joining the Student Balcony Club.

There are so many ways to use our exciting and amazing shows as an educational tool. Dance students have the opportunity to see legendary companies like American Ballet Theatre and Alvin Ailey American Dance Theater in order to improve upon their technique. School teachers can educate their students on the importance of accessibility and inclusion within the disabled community with a trip to see AXIS Dance Company. History or social studies teachers can celebrate the Martin Luther King, Jr. holiday weekend by taking their students to see Too Hot to Handel: The Jazz-Gospel Messiah. Instrumental and vocal students can see the Boston Pops Esplanade Orchestra with Rockapella to gather inspiration during practice time. The arts aren't just about education—they’re about having fun and fostering a community within the classroom too. DRUMLINE LIVE and Rasta Thomas' BAD BOYS of DANCE are perfect shows to engage students because both offer a contemporary take on classical music and dance, turning an experience with the arts into one giant party! And finally, college students will love one of the most exciting contemporary dance companies in the world, Batsheva Dance Company.

You can join the Student Balcony Club by booking a group of 10+ people, and remember the majority of the group must be students. Student Balcony Club members save 20% on balcony tickets (instead of our standard 10% group discount) for price levels 3 & 4. This means tickets are as little as $24!

You can learn more about booking your student group and access color-coded price maps by clicking here.

For more information or to reserve your seats, contact Nicole or Katie at 312-431.2357 or groups@auditoriumtheatre.org.

A Note from Rasta Thomas and BAD BOYS of DANCE

noreply@blogger.com (Guest Author) — Wed, 02 Nov 2011 08:55:55 PDT

By Rasta Thomas

CHICAGO... we're coming for you!

This is Rasta Thomas' BAD BOYS of DANCE and we are so pumped to perform in your awesome city. Us being there is very special because Chicago is such an important dance town in the United States. It's home to so much incredible dance and we are HONORED to be welcomed.

The roots of "Chicago dance" are deep and we couldn't be more excited to experience your magical city. We believe our program offers something different from the average dance show but it also utilizes a solid background of the classical and contemporary styles that dance fans expect and adore. We are in a constant pursuit to not only excite our audiences but to make them life long fans! Hopefully our energy and pure love for dance, music and theater will be contagious and be felt by everyone in the crowd.

Thank you Chicago, for inviting us to perform for you... we're making you a BAD BOY promise that we'll give you a night to remember!

For more information visit our website.
For tickets please click HERE

Enter to win FREE tickets HERE or by clicking the orange bar below!

~"LIKE" us on facebook... Follow us on twitter...

Rasta Thomas is an international dance star who has worked with over 20 companies. In 2007, he created his own, called BAD BOYS of DANCE.

Don Quixote’s Flights of Imagination

noreply@blogger.com (Guest Author) — Wed, 12 Oct 2011 07:36:03 PDT

By Lucia Mauro

Despite Don Quixote’s infectiously lighthearted tone, expect to ponder a substantial helping of source material. The Joffrey Ballet’s new production, reimagined by former Bolshoi Ballet principal dancer Yuri Possokhov, runs Oct. 12-23 at the Auditorium Theatre. It references the original Miguel de Cervantes two-volume novel; a series of impressionable etchings; and cinematic technique – not to mention one of the more popular versions of the ballet by Marius Petipa for the Bolshoi in 1869. This year, two drastically different versions of Don Quixote figuratively gallop (one already galloped) across the Auditorium stage. In the spring, Boris Eifman’s radically psychological interpretation, subtitled Fantasies of a Mad Man, placed the titular knight-errant in a psychiatric ward where his ability to dream was clearly stifled.

We’ll discuss both the Joffrey Ballet and Eifman Ballet of St. Petersburg. But, first, a little history.

Even before virtuoso choreographer Petipa set a story from Cervantes’ 1615 Book Two to dance, earlier ballet masters – from Franz Hilverding to John Georges Noverre -- found Don Quixote an inherently balletic subject. Yet, throughout the full-length narrative ballet’s evolution, the Don himself has served as a rather bumbling framing device for the more elaborate plot of the beautiful Kitri’s love affair with poor barber Basilio against her father’s wishes. With the exception of George Balanchine’s Don-centric 1965 production (which paired the choreographer with his own personal Dulcinea Suzanne Farrell), the ballet has traditionally reveled in the perils and joys of thwarted Spanish lovers awash in a pseudo-Iberian pastiche of swirling matador capes and fluttering fans – all set to the buoyant Ludwig Minkus score.

In Eifman’s staging, Don Quixote escapes his emotional torment by pretending to live among the villagers celebrating the wedding of Kitri and Basilio. His aesthetic fuses extreme ballet with avant-garde ideas. And when viewing Eifman’s often interior, non-literal work, it’s important to keep in mind that he frequently zeroes in on themes of artistic freedom that reference his own struggles as a ballet iconoclast during the Soviet era. Eifman’s Act One dancing mental patients could have crossed into the realm of parody or, worse, mockery. But, instead, they were sympathetic and believable. Act Two, nevertheless, appeared disconnected in the sense that it mainly recreated, with a few twists and turns, the last act of the familiar ballet.

The Joffrey’s pared-down, two-act production aims to stay true to the characters and structure of the Petipa blueprint; only the emphasis has shifted back to the Don. Here he is a stronger through-line, together with sidekick Sancho Panza and the protagonist’s scrawny horse Rocinante, an endearing life-size puppet created by Cynthia Von Orthal. The only vague similarity to Eifman is the desire to get inside Don Quixote’s head. In the novel, he is inspired to embark on a string of misadventures after consuming hefty servings of chivalric romances. The windmill-tilting knight places himself in the service of his imagined unattainable lady, the Dulcinea.

Ashley Wheater, the Joffrey’s artistic director, cites French artist Gustave Doré as a key inspiration. Doré, known for his wood- and steel-engraving, most famously illustrated Cervantes’ novel in the 1860s. These witty and fastidiously detailed black-and-white etchings have served as the visual soul of Don Quixote. One in particular portrays the Don as an older gentleman reading while being engulfed by clusters of fantastical literary characters. That singular image best sums up the Joffrey’s presentation, especially in terms of Wendell Harrington’s filmic-illusionistic projections that blur the line between fantasy and reality. Is this Don Quixote the Doré drawings come to life, or are we witnessing the fertile mental wanderings of Cervantes’ idealistic man from La Mancha? Most likely, we’re experiencing something more potent: the enduring power of the imagination.

Lucia Mauro is an arts writer and dance critic for several publications, as well as WBEZ-Chicago Public Radio. She is an adjunct professor of dance history at Loyola University Chicago and moderator of the Auditorium Theatre’s FireSide Chats.