Chicago Repertory Blog
Choreography: Wade Schaaf
Lighting Design: Sarah Lackner
Costume Design: Nathan Rohrer
World Premiere: April 6th 2018, The Athenaeum Theatre (Chicago IL)
A contemporary ballet work to the composition of the same name, this work is a thrilling dance to encounter full of classical line and contemporary movement style.
Choreography: Shannon Alvis
Lighting Design: Sarah Lackner
Costume Design: Wade Schaaf
World Premiere: April 6th 2018, The Athenaeum Theatre (Chicago, IL)
Trees, Melody is a beautiful and intense contemporary dance work for 7 dancers. With movements like trees mingling together in the wind Trees, Melody is a perfect marriage to its luscious contemporary score.
Choreography: Tenley Dickey
Lighting Design: Sarah Lackner
Costume Design: Tenley Dickey
World Premiere: April 6th 2018, The Athenaeum Theatre (Chicago IL)
All The Things You Are is a heartwarming contemporary dance incorporating music from the 40’s and 50’s. Culminating in a heartfelt final section for 9 dancers.
Choreography: Ryan Jolicoeur-Nye
Lighting Design: Dustin l. Derry
Costume Design: Nathan Rohrer
World Premiere: April 6th 2018, The Athenaeum Theatre (Chicago IL)
Closing is a luscious contemporary ballet with a silky movement vocabulary accentuating partnerships and partnered music to a contemporary score.
CRB: What's been the most challenging/rewarding part of this season?
Luis Vazquez: The most rewarding experience for me this season, is being presented with both the challenge and opportunity to reinvent my dancing with each new choreographer and piece. All of the pieces in this show are so different, that it pushes me to not only use my technique and facility in different ways, but to also jump into a different world with each work. It's been challenging but I feel that my dancing as much more depth and nuance because of this process.
CRB: Why CRB?
Luis Vazquez:What makes CRB special is seeing so many different voices and experiences collide onstage. Both the choreographers and dancers all come from such different backgrounds, and it's exciting to see what happens when those influences come together in the studio and on the stage.
CRB: What's been the most exciting new work from this season?
Christine Janák : I really enjoy dancing in the new ballet Wade has created for this show. It's like a whirlwind. This piece has the full company cast in it and I think it's going to be really powerful to have so many dancers onstage. The solos really twinkle like skittering sparks, so in the crescendo of this piece I'm hoping for visual fireworks.
CRB: What's been the most challenging/fun part of the rehearsal processes?
Christine Janák : When the choreography feels good in your body you dance it differently. I feel I dance at my best with Wade's style, the movements flow one into the next without being predictable. Getting to work in this style of movement is not only rewarding but also quite fun.
CRB: Why CRB?
Christine Janák : Art is vital to society, and good art can do incredible things. Supporting the arts makes you a part of the community of art makers, and what CRB does is incredible. In a few short weeks of rehearsal CRB has put together a stunning showcase of 4 new to the world feats of grace and athleticism and a 5th revival piece of powerful inspection on the human condition. Subtle stories told through gesture and flying leaps, whirlwinds and playful banter. Modern Motions fills the spectrum of emotions. The audience is in for an exciting ride.
CRB: What should someone expect from this show?
John Cartwright: Diversity of dance styles, beautiful music, and extraordinary dancing!
CRB: What's been the most challenging/fun part of the rehearsal processes?
John Cartwright: Tenley Dickey’s piece because the movement is so different and specific. She definitely has a unique movement style that is both quirky and beautiful.
CRB: Personally, what's been the most rewarding part of this process?
John Cartwright: The most rewarding experience has been working with so many amazing talented dancers. Everyone is so committed to their art and the amount of professionalism in the studio is outstanding. I’m truly grateful and inspired each day.
CRB: What's been the most challenging/fun part of the rehearsal processes?
Eliza Weekley: They're all so different and challenging it's hard to choose. But if I had to pick just one, I would go with Tenley Dickey's piece. Her choreography is just so quick and nuanced but also very musical so it is hard to pick up and make look good but once you start to get into the groove of it, it is very rewarding and fun to dance!
CRB: Personally, what's been the most rewarding part of this process?
Eliza Weekley: Getting to work with, and dance alongside, all of these wonderful dancers & choreographers. I know this sounds very Cliché, but it's true. This is my first time dancing with CRB and I was a little caught off guard by how friendly and welcoming everyone was.
CRB: Why should someone see and support CRB?
Eliza Weekley: We're different. It's not everyday that you get to see dancers do pirouettes in pointe shoes and then watch them proceed to roll around on the ground in the exact same piece.
CRB: What's been the most challenging/fun part of the rehearsal processes?
Miriam-Rose: One of the most fun and challenging pieces for me has been Ryan Nye’s new work. The final movement uses Max Richter’s “Infra 5”, which is one of my favorite pieces of music. While I’ve enjoyed listening to that piece many times, I never had to truly analyze it until this choreographic process. As both a dancer and a musician, I enjoyed the challenge of studying the piece from a musical standpoint as well as applying that musicality to the steps themselves.!
CRB: Why should someone see "Modern Motions?"
Miriam-Rose: Chicago Repertory Ballet is a uniquely versatile company. With repertoire requiring anything from pointe shoes to bare feet, we truly do push ourselves to create and perform "dance that defies labels". Not only is this versatility rewarding for us as dancers, who are constantly being challenged to grow technically and artistically, but it also makes our art approachable and relevant to the Chicago community at large.
CRB: Tell the world a little about yourself!
Miriam-Rose: In addition to dancing, I enjoy playing the violin, teaching, and composing music.
Originally from San Francisco, CA, Mr. Allegretti trained at the San
Francisco Ballet School on scholarship for ten years. He studied with Jorge
Esquivel, Parrish Maynard, Jeff Lyons and Jean-Yves Esquerre and attended
numerous summer intensives including American Ballet Theatre and Ballet
Chicago on scholarship. He danced with Ballet Theatre of Maryland as a
Principal and was featured as Cavalier and Snow King in the Nutcracker,
Prince Siegfried in Swan Lake, and in Antony Tudor’s Continuo. As a Principal
with Manassas Ballet Theatre he performed roles such as Hilarion in Giselle,
Cavalier and Snow King in The Nutcracker and the Jester in Cinderella. Mr.
Allegretti is looking forward to his first season with Chicago Repertory Ballet.
