Preview

When asked what drew her to John Steinbeck’s 1937 novella, “Of Mice and Men,” British choreographer Cathy Marston said, “It asks all the questions that invigorate me—faith in friendship, why people are so isolated…”

See Chicago Dance reached Marston by phone during a break in rehearsals at Joffrey Tower where she is putting the finishing touches on the world premiere production, opening April 27th at the Lyric Opera House. (See below for details.)

For the first time ever in her 23-professional-years, Sara Juli is performing in the Windy City and she’s bringing an elaborate Pepto-Bismol pink bathroom set in tow.

Updated April 7, 2022

Fire Spinning! Dancing! Circus Arts! Acrobatics! Comic Books!….and Belly Dancing? !!@#EE GAD!*#&!!

The performance art collective known as “Raks Geek” turns traditional belly dancing on its ear with this month’s installment of its theatrical spectacle, “Raks Inferno,” at the Newport Theatre (formerly Links Hall) in Wrigleyville this Friday, April 8th. (See details below.)

Numerology tells us that numbers carry significant energy.  They guide us on our sacred path and lead us to our inner and outer work. Nine, the multi-hyphenate number that represents birthing, enlightenment, love, forgiveness and awakening, has also taken another role serving as the fitting title for Praize Productions Inc’s first motion picture.

This weekend marks a major milestone for the Evanston Dance Ensemble (EDE) as they celebrate their quadricentennial anniversary with “Silver Lining: Celebrating 25 Years of Dance,” a review of popular selections from the company’s long presentation history.

The crucial need for diversity and racial equality in the performing arts inspired The Joffrey Ballet to create The Winning Works Choreographic Competition in 2011 to promote talented and emerging ALAANA choreographers (African, Latinx, Asian, Arab, and Native American), whose access to professional exposure has typically been limited in the predominantly white male concert dance industry.

In an interview with London-based choreographer Akram Khan, I was let in on the basis of his new work “Creature,” featuring the English National Ballet and scheduled to premiere in the U.S. Thursday at the Harris Theater. 

Initially sparked by the themes of isolation present in Mary Shelley’s “Frankenstein,” and further guided by George Büchner’s unfinished play “Woyzeck,” “Creature” takes us on an arctic journey exploring the last frontier, testing human thresholds and challenging us to question what we inevitably leave behind on our collective quest for more.