Resilience and tenacity are themes coursing through this year’s fall dance calendar. After making her mark as a dancer in River North Dance Chicago, Stephanie Martinez caught a second wind creating dances for ballet companies all over the country. When the work dried up in 2020, she contracted out-of-work dancers to perform in an Avondale parking lot. It was brilliant.
Fifty-one years ago, Shirley Mordine started a dance series at Columbia College, bringing artists like Anna Halprin, Meredith Monk and Bill T. Jones to Chicago. It was bold — and brilliant. And in 1995, Gerald Arpino packed up his beleaguered Joffrey Ballet and moved to Chicago to see if they could thrive somewhere else. Brilliant.
It’s not a foregone conclusion that anyone who endeavors to dance in Chicago will be doing it five, 30 or 50 years later. But the examples below are here now and aim to inject what’s sure to be a contentious election season with a little joy, introspection, empathy and curiosity. How brilliant.
Para.Mar Dance Theatre: Born during the pandemic in a parking lot with a single (and singular) work, “kiss.,” veteran choreographer Stephanie Martinez’s company kicks off its fifth season with a first-ever mixed-rep program in a conventional venue. It’s a “greatest hits” of sorts, aimed at proving Para.Mar is not a one-hit wonder — though “kiss.” is, indeed, on the program. The evening includes additional pieces by Martinez, Hélène Simoneau, Jennifer Archibald, Yin Yue and Joffrey dancer Xavier Nuñez. Sept. 20-21 at the Studebaker Theatre in the Fine Arts Building, 410 S. Michigan Ave.; tickets $30-$100 at 312-753-3210 ext. 102 and fineartsbuilding.com
Mythili Prakash: Columbia College has recently turned its gaze locally for the long-running Dance Presenting Series, saving just one spot each season for an out-of-towner. Last year, all those eggs went to LaTasha Barnes’ basket with her unforgettable “Jazz Continuum.” Barnes shares little aesthetically with Mythili Prakash, an American Bharatanatyam soloist who splits time between Los Angeles and Chennai, India. But “She’s Auspicious,” developed through a years-long process interrogating both the tremendous and troubling origins of her art form, is likely to leave the same lasting impact. Now a group work for five women, “She’s Auspicious” is a stunning examination of femininity — both earthly and divine. Sept. 26-27 at the Dance Center of Columbia College Chicago, 1306 S. Michigan Ave.; tickets $30-$150 at 312-369-8330 and dance.colum.edu
Chicago Dance Crash: An evening of world premieres marks the directorial debut of KC Bevis, who recently took the reins of this once-scrappy, always mouthwatering troupe blending street and concert dance forms. Bevis teams up with company member Ibrahim Sabbi for a pair of structured freestyles; long-time member Elijah Motley, now based in North Carolina, returns with a one-act premiere set to original music by e j e c t. Oct. 4-5 at Ruth Page Center for the Arts, 1016 N. Dearborn St.; tickets $25 at chicagodancecrash.com
Joffrey Ballet of Chicago: The North American premiere of Cathy Marston’s “Atonement” has all the richness and nuance of Ian McEwan’s celebrated 2001 novel — and the layered lyricism of Marston’s long list of original story ballets. The story centers on a precocious young girl and the wide-ranging impact of a single decision she comes to regret. Oct. 17-27 at the Lyric Opera House, 20 N. Wacker Drive; tickets $36-$189 at 312-386-8905 and joffrey.org
Step Afrika!: A dominant force connecting percussive dance forms from Africa and America returns to Chicago after their rousing debut last season. Now on their 30th anniversary tour, Step Afrika’s theatrical joy bomb blends traditional African dances with stepping, born on the campuses of historically Black colleges and universities. Oct. 19 at the Auditorium Theatre, 50 E. Ida B. Wells Drive; tickets $29-$79 at 312-341-2300 and auditoriumtheatre.org
SOZO Productions: Created in the wake of the Jan. 6, 2021, insurrection at the U.S. Capitol, Camille Saint-Saëns’ “Carnival of the Animals” provides the backdrop for spoken word and dance by Marc Bamuthi Joseph and Wendy Whelan. Whelan has increasingly explored cross-genre contemporary work since retiring from New York City Ballet, which she now helps lead. Ailey II director Francesca Harper crafts the movement language for Whelan’s duet with Joseph, who offers text on migration and societal norms in the current U.S. political jungle. Oct. 19 at the Harris Theater for Music and Dance, 205 E. Randolph St.; tickets $33-$109 at 312-334-7777 and harristheaterchicago.org
Hubbard Street Dance Chicago: This contemporary juggernaut’s fall opener shakes things up in more ways than one: with a move uptown and the company premiere of Bob Fosse and Gwen Verdon’s “Sweet Gwen Suite.” Yes, that Fosse. It’s a first-ever collab with a dance company the Fosse/Verdon trust and a bold re-visitation with Hubbard Street’s jazzy roots. Lest you worry it’s an identity shift, the program also includes stunners by familiar contemporary voices: Lar Lubovitch, Kyle Abraham and resident choreographer Aszure Barton. Nov. 15-24 at Steppenwolf Theatre Company, 1650 N. Halsted St.; tickets $15-$110 are on sale Sept. 10 at hubbardstreetdance.com
Deeply Rooted Dance Theater: This legacy troupe unearths classic repertoire by co-founders Gary Abbott and Kevin Iega Jeff — the latter a portrait of Roberta Flack — plus new and new-to-them repertoire for one night only at the Auditorium. Attempting to see if lighting can strike twice in the same place, last year’s display knocked the socks off audience members, this writer among them. Presently, Deeply Rooted is not to be missed. Nov. 16 at the Auditorium Theatre, 50 E. Ida B. Wells Drive; tickets $35-$85 at 312-341-2300 and auditoriumtheatre.org
Ballet X: It’s been a decade since this trailblazing contemporary ballet company from Philadelphia graced the Windy City. Then and now, their goal is to take ballet to its very edges. Case in point: this mixed-repertory evening includes Chicago’s first peek at Jennifer Archibald’s “Exalt,” a balletic homage to house music. Nov. 21 at the Harris Theater for Music and Dance, 205 E. Randolph St.; tickets $39-$74 at 312-334-7777 and harristheaterchicago.org
Côté Danse: Canadian choreographer Guillaume Côté teamed up with decorated stage director Robert Lepage for a new and stunning dance adaptation of Shakespeare’s best-known tragedy: “Hamlet.” In lieu of monologues, Côté (who plays the title role, as well) and Lepage advance the story with imaginative visual effects and a gripping original score by John Gzowski. The production lands in Chicago for just two days, and is the only U.S. city scheduled this year. Nov. 23-24 at the Harris Theater for Music and Dance, 205 E. Randolph St.; tickets $68-$168 at 312-334-7777 and harristheaterchicago.org
Lauren Warnecke is a freelance critic.
