Giordano Dance Chicago returns to the Harris Theater for Music and Dance in April for the jazz company’s biannual series called “Unlimited.” Anchoring the evening is a new one-act work from Emmy-winning director and choreographer Al Blackstone — his first piece with the company.
Blackstone’s storied career includes setting revivals of “An American in Paris,” “Pippin” and “Annie.” He won an Emmy for a 2020 piece on “So You Think You Can Dance” and is a sought-after teacher in studios and on the convention circuit. But it was not until now that a longtime goal to work with Giordano came to pass.
“Jazz dance is really my first love,” Blackstone said, “but there are so few jazz dance companies. It’s really a rare opportunity.”
Blackstone grew up in New Jersey with dancing parents.
“It was a dance household,” he said. “In some homes, you talk about sports. We talked about dance. And in our house, saying Giordano was like saying Michael Jordan.”
Blackstone regrets missing an opportunity to attend the Jazz Dance World Congress (a convention hosted by cities around the globe between 1990 and 2012). And he flirted with the idea of moving to Chicago in his 20s, but it didn’t pan out. When he got the call from artistic director Nan Giordano to create a new work for the company, it was an easy yes.
“I love his work,” said Giordano, who’s led the company her father Gus founded for 39 years. “We had a mutual respect. He appreciates the foundation, but he’s the young generation pushing it forward.”
The resulting half-hour world premiere, called “Gershwin in B,” features company dancer Erina Ueda in a loose coming-of-age narrative.
“The mantra of this piece is everything happens for a reason,” said Ueda, now in her third season with the company. It’s a mantra Ueda lives by, having spent much of her first year at Giordano injured.
“I’m very lucky and grateful to have this experience. I really did not expect it,” Ueda said.
“Gershwin in B” is a full-circle moment for Ueda, who took Blackstone’s classes at conventions but never dreamed of working with him professionally. And as a trained pianist, she’s smitten by George Gershwin, whose “Rhapsody in Blue” marks its centennial this year. Blackstone chose a ritzy big band arrangement for the piece, plus unique, instrumental versions of additional standards like “’S Wonderful” and “But Not for Me.”
“These are timeless songs that people recognize, but they’re interpreted in different ways,” Blackstone said. “Gershwin was passionate about making classical music accessible to audiences and bridging the gap between concert work and what was popular music. There’s a parallel there. I really like dance that’s relatable.”
It was an unusual commission for the 61-year-old institution. Blackstone was charged with creating a one-act narrative work — a first for Giordano — developed over a months-long residency with the company. A typical premiere gets two weeks.
“It was absolutely amazing working with Al,” said veteran dancer Adam Houston, who premieres a duet, “Unconditional,” on the April program. The short piece, set on company members Sasha Lazarus and Fernando Rodriguez, was first developed for Lazarus in Giordano II.
“You have two dancers doing a pas de deux,” Houston said. “In most people’s minds, they’re going to think it’s about love. I was looking at my friends and people around me. In my personal life, the only experience I have with unconditional love is with my mom. It’s not a mother/son duet; it’s that feeling.”
“Unconditional” is joined by revivals of Davis Robertson’s “Entropy,” choreographer Ray Leeper’s “Soul” and the original version of Gus Giordano’s “Sing Sing Sing” to make up the show’s first half. Blackstone’s “Gershwin in B” comprises the entire second act.
Another difference: Blackstone requires the full company to act, making references to literal moments in Ueda’s journey from a bubbly, innocent girl into a confident, sensual woman.
“Nan kept saying, ‘We want a theatrical extravaganza,’” Blackstone said. “That’s what I was told to make. Imagine the pressure.”
Blackstone took full advantage of his time, visiting the company’s archives and taking certification courses in the Giordano technique — in a sense, getting that Jazz Dance World Congress that he missed growing up. “Gershwin in B” reflects that time and research; he built the piece using fundamentals of theatrical jazz technique.
“I loved immersing myself in their world,” Blackstone said. “All of it felt very natural to me. It’s like coming home, in a way, to be in a room of people that all speak the same language. I think that’s a testament to Gus’ impact and the impact of Giordano dance.”
Lauren Warnecke is a freelance critic.
Giordano Dance Chicago’s spring series, featuring “Gershwin in B,” runs April 5-6 at the Harris Theater for Music and Dance, 205 E. Randolph St.; tickets $20-$90 at 312-334-7777 and harristheaterchicago.org
