Rachel Schmidt began her dance training with Santa Cruz Ballet Theatre under the direction of Robert Kelley and Diane Cypher. Upon graduating from Butler University in 2015 she moved to San Francisco, California where she danced as a trainee with Alonzo King LINES Ballet and later as a company member of dawsondanceSF, lead by Gregory Dawson. In 2019 she moved to New York City and performed with Brooklyn Ballet, Dance Lab New York as part of the Alchemy Lab Cycle at the Guggenheim Museum, and Visions Contemporary Ballet before moving to Chicago at the start of 2022. She has performed in works by Alonzo King, Sidra Bell, Maurya Kerr, Gregory Dawson, David Harvey, Robert Dekkers, and Susan McGuire. This is her first season with Chicago Repertory Ballet
Celebrate10! Gala A Success!
Thank you to everyone who attended our Celebrate10 gala! The evening was filled with fun, laughter and some very important philanthropy all in support of Chicago Repertory Ballet’s 10th annual season. We had a wonderful performance by the company dancers choreographed by Artistic Director Wade Schaaf. As well our Youth Ensemble joined us with a performance of their new ballet “Petite Suite”. Please enjoy some photos shot throughout the evening by @DanielleCarpenterPhotography (You can find her at that handle on social media).
Press Release: Rite of Spring | Weather Update
Press Release: Rite of Spring & Other Works
Unforeseen circumstances have forced us to shift the performance time of all performances to 6:00pm.
During the dress rehearsal on Thursday, July 22nd the Marley floor that our dancers perform on became wet and dangerous due to the moisture in the air. Shifting the performance to 6:00pm is necessary for the safety of our dancers and to ensure we can put on the best show possible.
The Rite of Spring: CRB takes on the work that changed the art world.
Director Wade Schaaf tackles
“Le Sacre Du Printemps”
The year was 1913 and the place was Paris. Young Ballet Russe choreographer Vaslov Najinski was given a near impossible task: convey a terrifying tale of Russian folk life and ritual sacrifice to a brand new score by the now famous composer Igor Stravinsky. The score was unlike anything anyone had heard prior, so much so that the musicians would frequently stop rehearsals to point out what they thought were errors in the score. Of course this was not the case. What the musicians heard were sounds that they were unaccustomed to encountering from the orchestra. So was the way with the choreography. Highly skilled ballerinas filled the stage with feet turned inward rather than out, knees knocking and hands cupped. What was this creation that the Parisians came to see on that night in May? Love it or hate it, it was something brand new for the world to encounter.
The now infamous opening night performance which was marked by boos, hisses and patrons shouting out, “UN DOCTEUR! UN DENTISTE!” (A doctor, call a doctor! A dentist, call a dentist) has also been described as something so original, both musically and choreographically, that the dancers and musicians had no idea what it is they were performing on the stage. And how could they? Perhaps in the creation process one might have understood that this work would be new, or original, but to understand that this would be a work that would change the artistic world is implausible at best.
And so it is with The Rite. 100 years after its premiere this work has become a standard part of the orchestral canon, and has been performed by countless ballet and contemporary dance companies across the world. Not only have companies restaged the original Najinski version, but as well, numerous choreographers have created their own versions of this captivating tale, from Martha Graham to Pina Baush.
This July, Chicago Repertory Ballet’s founder Wade Schaaf will stage their new concept and choreography for The Rite in an outdoor setting on Chicago’s Montrose Harbor. Schaaf staged a version of The Rite in 2013 when CRB was in its formative years (only the second performance for the young company). Rather than re-stage the 2013 version Schaaf has re-conceptualized this ballet for the July premiere. “While I loved what I made in 2013 for the company, I have grown and changed alongside CRB and I wanted to make a version that really speaks to who we are as a company today.”, said Schaaf.
With costumes by resident designer Nathan Rohrer, lighting by Sarah Lackner, and an outdoor setting, Schaaf hopes to bring a sense of humanity and realism to their production. “I want the audience to encounter this group of people and to be able to relate to them and the situation in which they find themselves. These events, this sacrifice, should feel like something that could happen to any of us under the right set of circumstances. I’m also taking this opportunity to explore and present what this society might look like and how these people might behave without some of our current trappings about gender and sexuality.” Schaaf says that exploring gender and sexuality in ballet has become a hallmark of their work with CRB. “Ballet has traditionally been a gendered and heteronormative art from with roots in imperialism and misogyny. These aren’t ideas that I affirm. I’m working within a framework for which I have a deep love and respect to completely re-imagine the art-form. It’s time to tell stories differently so that all people might see themselves on the concert dance stage, rather than a select group.”
Catch The Rite Of Spring and Other Works July 23 - 25 at Cricket Hill on Montrose Harbor. Tickets range from pay-what-you-can seats on the lawn to premium seating at $45. Tickets are available at www.crb.dance.
*some material may be inappropriate for young children*
Rehearsal Footage from Immortal beloved
Enjoy this beautiful segment from Mariana Oliveira’s “Immortal Beloved”. Here is dancer Felicity Nicholson in a recent rehearsal of the work. See this and many other beautiful dances in “The Rite of Spring and Other Works” July 23 - 25 on Montrose Harbor. Get your tickets today!
Dancer Training Program Instructor Profile: Kim Sagami
We’re excited to announce dancer training program instructor Kim Sagami!
Kim (she/her) is a Chicago-based ballet teacher who was trained in Los Angeles before joining the Joffrey Ballet at the invitation of Robert Joffrey. Her teaching style reflects the influences of her mentors: Robert Joffrey, Gerald Arpino, Hilary Cartwright/Yoga Narada, and Alonzo King/LINES. In addition, Kim graduated with an architectural degree from Illinois Institute of Technology which have greatly influenced her teaching of alignment and form.
Her teaching credits include Joffrey Academy of Dance, Hubbard St. Dance Chicago, Visceral Dance, Ballet 5:8, Chicago Repertory Ballet, Chicago High School of the Arts, Chicago Ballet Arts, Regional Dance America, Interlochen Arts, Thodos Dance Chicago. Master classes in Sydney, Tokyo, LA, NY, and Chicago.
Film credits include the 1987 film of Joffrey’s historic restoration of Nijinsky’s lost Le Sacre du Printemps and a featured role in the film of BILLBOARDS, a full- length rock ballet with music by Prince. Musical Theater credits include a featured role in the national US touring company of The Phantom of the Opera.
Ms. Sagami is currently on faculty at Roosevelt University and is Resident Master Teacher at Fort Wayne Ballet. She is certified in ABT National Training Curriculum, Progressing Ballet Technique and Zena Rommett Floor Barre. Ms. Sagami is president of the board of directors for The Gerald Arpino Foundation and also serves as répétiteur for the foundation and the Edward Stierle Family Trust. She is looking forward to teaching for Chicago Repertory Ballet’s Professional Training Program.
For more information on CRB’s Professional Training Program including prospective schedules, registration and scholarship information click below!
Press Release: COVID-19
FOR IMMEDIATE RELEASE
Contact: Wade Schaaf
Phone: 872.588.0431
Email: Info@chicagorepertoryballet.com
Rite of Spring:
Performance Postponement
To our Patrons -- we’ve been following the news very closely over the last few weeks and working with the Athenaeum Theatre to determine the best course of action. In accordance with the state and local officials, and out of concern for the health and safety of our patrons, artists and staff, Chicago Repertory Ballet is postponing The Right of Spring & Other Works.
The new performance date is set for this fall, September 11th-13th. If you’ve already purchased tickets, your tickets have been transferred to these new dates. If you would like a refund please contact the Athenaeum Theatre.
This was a difficult decision for our team, but the safety of our patrons, dancers, and staff is of the utmost importance. Chicago Repertory Ballet’s Company Dancers will receive a stipend for their work to date, and we will continue to assess any potential financial losses in the coming weeks. We thank you for being a long time supporter of the arts, and we look forward to bringing these exciting works to the stage in September. Do not hesitate to contact us [info@chicagorepertoryballet.com] or The Athenaeum Theatre with any questions. The Athenaeum Theatre’s Box Office will be handling a significant number of inquiries, so they would appreciate your patience; do not feel like you must contact the Box Office immediately.
We will continue to monitor any developments with the COVID-19 pandemic and should any changes mandate an alteration in our production dates, we will let you know.
Thank you for looking after yourselves and each other. We look forward to welcoming you back to the theatre very soon.
Chicago Repertory Ballet's mission is to bring storytelling and choreographic innovation to the stage while inspiring audiences and challenging preconceived notions of the art-form.
Chicago Repertory Ballet is a not-for-profit tax exempt organization - under section 501(c)(3) of the Internal Revenue Code
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If you would like more information on this topic, please contact Wade Schaaf via phone at 872.588.0431 or email Info@chicagorepertoryballet.com
Our Top 6 Moments of 2019!
Reviging Macbeth
RADfest in Kalamazoo
Launching CRB Youth Performing Ensemble
Our growing Summer Intensive
An amazing gala at the Goodman Theatre
YOU!
None of this would be possible with the dedication of our Patrons, Volunteers, and staff. 92% of our operating budget comes from individual supporters like you!
Podcast interview with Artistic Director Wade Schaaf on 5, 6, 7, EIGHT!
Recently, Founding Artistic Director had the opportunity to appear as a guest on Aleksandra Eifmova’s podcast 5, 6, 7, EIGHT!
Enjoy this episode as Wade talks about life, dance, Pilates and CHICAGO REPERTORY BALLET!
“Yes, there is a big crossover between art and technology…but at the same time, concert dance is a phenomenal opportunity for people that are oversaturated with imagery all the time and have a very fast paced life. Going to sit down in a theater and encountering something in real time that human beings have created is a phenomenal reset button for people.”
Hear this and more now!