Review: Winifred Haun & Dancers present "First Draft" (2025) at Links Hall

Winifred Haun and Dancers' “First Draft” uplifted audiences at Link Hall this past weekend, showcasing thirteen premieres by emerging Chicago choreographers and dancers. Its title nods to the creative process, where every choreographer refines their work through multiple drafts, with each piece presenting original ideas that highlight diverse voices, engage audiences and explore global themes.

“Balance/The Force,” by dancer and choreographer TJ Morris, draws heavy inspiration from Star Wars, framing his journey and experience as a dancer through the rigorous training of a Jedi Knight. In this refreshingly high energy and grounded performance, Morris utilizes various hip-hop genres—such as old school hip hop, break dancing, popping, locking, krumping and more—to represent the different stages of his training, career and emotions. Accompanied by narration, the audience follows Morris' personal journey from a passionate freestyler, to his struggles with modern hip-hop choreography classes, to becoming a signed artist and to facing job loss and self-doubt. As Morris grapples with the setback, he questions whether he "is good enough," to which his Master reminds him, "You already are." It is further explained that his connection to the Force—and, metaphorically, to dance itself—is tied to his ability to keep learning and, most importantly, to remember the foundations of why he is an artist: joy, self-expression and the freedom to be his most authentic self.

“Wild Roots, Fugitive Blooms” choreographed by Eona Carey was a haunting piece about the cyclical nature of resistance and change. The piece began with dancers acting as a singular unit, breathing in sync and creating rippling movements. One dancer breaks free from the uniformity only to be surrounded and physically pushed down by the others, forcing her back into submission. While this moment feels futile, a sense of hope emerges when another dancer, inspired by the first's resistance, ends the piece by breaking free once again—alone, but hopeful that this time change will prevail.

"First Draft" (2025), with Winifred Haun & Dancers; Photo by Michelle Reid

Dillon Zamora’s “An Ode to the Porcelain Throne” is a hilarious, theatrical and over-the-top Camp performance that places a toilet center stage and uses situational comedy to delve into the vulnerable and intimate space of a public bathroom. Paired with overly dramatic music—such as Beethoven’s 5th Symphony in C minor, Ave Maria and other famous classical works—the piece balances absurdity with reality. Dancers recreate relatable moments such as the famous mad dash to reach a toilet in time, the mortifying experience of a body's betrayal as it creates unwanted sounds and smells, the awkward peace found while using an unfamiliar shower and the impulsive urge to check oneself in the mirror. The result is a memorable performance that pokes fun at and celebrates the universal, often awkward experiences of using the bathroom.

“What's Being Said?” an intense jazz-inspired solo performed by Julia Schaeffer and choreographed by Vernon Gooden, embodies the sense of self-doubt felt when one feels left outside the boundary of conversation. Surrounded by the constant hum of voices, Schaeffer begins alone and uncertain. With only a chair by her side, she uses it as a physical crutch, her uncertainty driving her to push gravity to its limits with off-balance movements—pressing her body into the chair, spiraling her leg along its back and arching her back across its center. As the voices fade and her confidence builds, so does her movement. With strong, self-assured leg extensions and arms stretched wide, she unabashedly separates herself from her sense of doubt and claims her space, punctuating the moment with a final declaration from the music: “This is who I am.”

The rest of the first night's program included: “A Body Named…,” a meditative piece choreographed by Prince Adrean, that invites dancers and audience members to reflect on their past, present and future relationship with their bodies; “Self Reflection,” choreographed by Gabrielle Nicholas, which combines elongated vocal chanting, dramatic sweeping movements and piercing gazes to create a haunting exploration of inner strength; “Prognosis,” choreographed by Sasha Yakovenko, which uses syncopated, robotic movements and vacant expressions to critique a society devoid of emotional expression; and “What We Don’t See,” choreographed by Julia Schaeffer, a kaleidoscope of movement where each dancer performs their own choreography, creating a visual overload that left the audience unsure of where to focus.

There was some overlap in motifs and themes, but every piece offered something fresh and engaging. While technically impressive, certain pieces saw varying facial expressions among the dancers and made it difficult at times to fully grasp the intended theme of the work.
Winifred Haun and Dancers' “First Draft” offered an engaging and uplifting glimpse into Chicago's emerging choreographers. With a diverse range of works, the program had something for everyone to enjoy.

"First Draft" is presented by Winifred Haun & Dancers through March 9 at Links Hall, 3111 N. Western. Showtimes are Fri & Sat at 7pm; Sun at 3pm. Tickets start at $35 at winifredhaun.org or by clicking the company link below.