How long must a dance company exist before being considered established? In a typical business model, some would say that surviving three years marks success and hope for a future. Others might argue it’s a longer haul to become firmly rooted as a part of the cultural landscape. Dance companies have a history of coming and going, many not even reaching the three-year mark due to lack of funding or general support, or as in our recent past, a pandemic. For Visceral Dance Chicago, celebrating a 13th season emphasizes the company’s ongoing and stable presence within the city’s rich dance culture.
Visceral’s “Fall Engagement” concert highlights the technical chops and athleticism of the company dancers through four varied works at the Museum of Contemporary Art (MCA), October 3-5, highlighted by a world premiere from the red-hot Los Angeles-born choreographer, Micaela Taylor. Entering its teenage years as a contemporary dance repertory company is significant for Visceral, and Nick Pupillo’s respected group shows no signs of typical adolescent growing pains. “From the start, we aimed high,” says Pupillo, founder and artistic director of the company. “We did our first show in 2013 at the Harris [Theatre for Music and Dance] and people thought I was crazy, but they immediately took us seriously.”
In “Fall Engagement,” the work of Taylor and a piece from Irish choreographer Marguerite Donlon are bookended by two recent works from former Giordano dancer, Pupillo. As of press time, there was whispered mention of a surprise premiere piece from Pupillo possibly being added to the program.
Often Visceral performs at their home space, the Ann Barzel Theater at Visceral Dance Center, but moving to the MCA from time to time allows the company to continue to build an audience by drawing from the museum’s clientele as well as their loyal following. “Sometimes we need more space,” says Pupillo. “We can bring in the same number of audience members in three shows at the MCA that we can in 8 performances at Visceral. I love [the MCA] because it feels more intimate than some of the other proscenium spaces like the Auditorium.”
Typically when putting together a concert, Pupillo is driven to assemble a collection of pieces that help the company dancers grow and that aim to evoke emotion and stimulate conversation. “We do our best to stay relevant and push the boundaries of contemporary dance,” says Pupillo. “Every dancer and collaborator we bring in adds to how we are evolving.” After seeing Taylor’s work in St. Louis, he felt Taylor’s style would be well-suited to Visceral and yet guide the company in new directions, provoking the kind of conversations he was looking for. “I first invited Micaela to create a piece on Visceral in 2020,” he says, “and then, you know what happened.”
Five years, and for Taylor, one new baby later, Pupillo enabled Taylor’s first Midwest commission. Raised on both the commercial dance styles prominent in LA and classical technique, Taylor has remained consistently busy since the pandemic, rising fast and setting pieces in her trademark fusion of hip-hop and ballet on the likes of Nederlands Dans Theatre 2, BODYTRAFFIC and the Paris Opera Ballet. “She has an oddly beautiful and unique movement language,” Pupillo says, often described as quirky with facial gestures and strong focus on narrative. “But this new piece shifts away from that,” he adds, “the movement is very internal.”
Entitled, “If You,” Taylor’s inspiration initially took cues from a stew of ideas ranging from her personal experience with the fatigue brought on by new motherhood, questioning how the body can tell stories, exploring vulnerability of both weakness and strength and meaning of the concept: “fear of missing out.” The cast of a dozen in “If You,” intends to reveal the inner human topography, a concept close to the core of Visceral’s identity. Taylor hopes the result is intimate, free and nuanced.
The witty work of Donlon makes an appearance via “Ruff Celts” which has been in Visceral’s repertoire since 2016. Visceral rehearsal director, Caitlin Cucchiara remounts the piece on the current company dancers, pulling forth the playfulness and stylistic diversity that has made Donlon’s contribution an audience favorite in the past. Fusing traditional influences with striking visual imagery, surprise and humor, the dance showcases the virtuosity of the company in ensemble fashion.
The program opens with Pupillo’s homage to the women in “Rise,” which premiered earlier this year. “It’s really about empowerment,” he says, “and in tribute to the women who trained me over the years and the dynamic women company members of Visceral throughout.” With Maggie Jarecki’s swirling red skirt costume design and lighting by Ely Kleinsmith, Pupillo says the quintet “reflects on how women constantly lift each other up.”
If any piece in this particular program leans toward the company’s evolution over 13 years, it’s the concert finale, Pupillo’s work, “Pearl”. Featuring his dynamic signature ballet and jazz-influenced style under sharp-edged lighting by David Goodman-Edburg, “it’s a product of all of those years,” Pupillo says, “and I wanted to make something beautiful.” Adding three new dancers to the company since the piece premiered in 2024, Pupillo now considers the dance a rite of passage. “Its’ really the culmination of all that we have been through in the past as a company, and who we are now.”
“Fall Engagement” is presented by Visceral Dance and runs 3-5 at the Museum of Contemporary Art, 220 E. Chicago Ave. Showtimes are Fri & Sat at 7:30pm; Sun at 3pm. Tickets are $25-$80 and are available by visiting visceraldance.com/performances.
Copyright 2025, See Chicago Dance, All Rights Reserved
