As Artistic Director for Hubbard Street Dance Chicago, Glenn Edgerton often finds himself on the lookout for choreography that helps his company fill a particular niche. One that is different, diverse and unique. A longtime admirer of respected contemporary choreographer William Forsythe, Hubbard Street has extensively performed Forsythe’s pioneering vision of contemporary dance that integrates narrative and message in non-conventional ways.
Opening its 41st Fall Series Thursday night at the Harris Theatre, the company’s efforts to forge new directions in dance was on full display with the presentation of a single performance piece broken up into three parts. Each unit created by different choreographers. This kind of collaboration is revolutionary on its own and the unusual approach was then extended by incorporating a common theme revolving around environmental degradation.
Hubbard Street Chicago has worked with choreographers Lil Buck and Jon Boogz in the past. This premiere marks their first affiliation with Emma Portner whose star in the dance world is on the climb.
As integral as music is to any dance performance, the September 27th debut also placed the musical component of the program in remarkably high relief. Featuring work of the Grammy award winning ensemble Third Coast Percussion, the musicians performed on stage with the dancers and remained a strong visual link to the dance itself. Primarily vibraphonists, Third Coast Percussion’s work is highly distinctive in the way it’s able to beautifully fuse the energetic and the ethereal; making it very much reminiscent of the work of Steve Reich with whom they’ve also collaborated.
Although producer and composer DeVonte Young custom developed the music for the Hubbard Street performance, Third Coast Percussion maintained jurisdiction on its arrangement.
Dance, music and score seemed equally integral to the performance as they all came together to create a singular brand of theater. Launching on Jon Boogz and Lil Buck’s There Was Nothing, a darkly primordial take on creation, a mood of anxious reflection was established that would remain in place throughout the evening.
Also consistent through much of the performance, a single dancer kept drawing the eye to her energy and easy craftsmanship. Rena Butler’s intuitive grace became central to the telling of a tale intended to highlight the urgency of sustainability. This is an imposing theme for a dance company to take on and one that can be challenging for audiences to not only synthesize; but also accept as entertainment.
To maintain continuity, there was no intermission in the 80-minute program. Piece flowed seamlessly from one to the next. Perfectly Voiceless, the second featured work, opened by using sound to establish a sense of curiosity and wonder with dancers eventually mounting the stage to provide their own expression to the surreal mood created by the irregular ringing of bells.
Emma Portner’s contribution, For All Its Fury, was the most intriguing for its daring construction. Opening with couples dancing in distorted configurations, symbolic references emerged on the hazards of plastic and ended on the creative imaginings of an endangered world still clinging to hope. The work was impressive for its ambition.
Dance as a vehicle for social commentary will always have a place. The message and the clarity of its delivery will define how well audiences respond to it.
Hubbard Street Dance Chicago and Third Coast Percussion
Fall Series
September 27, 29 + 30 2018
Harris Theatre
205 E. Randolph St.
Chicago, IL 60601
www.harristheaterchicago.org
