Hubbard Street

Hubbard Street's Pablo Piantino and Penny Saunders Talk About Alonzo King's "AZIMUTH"

LINES Ballet Dancer Meredith Webster, center, with (center-right, pushing left)

You could definitely say that Penny Saunders and Pablo Piantino have had a front row seat for the making of some of the most important choreography of the last decade, except that if you did, it would actually be a pretty serious understatement. In fact, it's quite possible that neither of them has ever even been in a front row seat, because between them, they've spent seventeen years in rehearsal studios and on stage with Hubbard Street Dance Chicago, watching some of the world's most admired choreographers make dances.

Even that underestimates their experience, and the depth of their perspective; before joining Hubbard Street, Piantino danced with the Colón Theatre Ballet Company and the San Francisco Ballet, Saunders with The American Repertory Ballet, Ballet Arizona and the Cedar Lake Ensemble, not counting some very prestigious guest appearances. They've seen, and been seen in, a lot of great dance performances, constructed by great choreographers and great dance companies, so with Hubbard Street Dance Chicago and Alonzo King LINES Ballet undertaking an almost unbelievabley ambitious new dance project, their perspective on how it was all put together is bound to be priceless.

Music and Dance: A Master Class in an Invisible Art

Hubbard Street Dance Chicago in Casi-Casa by Mats Ek. Photo by Todd Rosenberg.

Hubbard Street's Winter Series was a memorable showcase; the five or six thousand people who saw the Company's four performances in Chicago this December, like those who will see them in January and February on an extensive tour of the U.S. West Coast, had a chance to enjoy everything that makes a Dance Concert successful. Winter Series was a display of intricately woven choreography, a textured and complex fabric made out of an uncountable series of beautifully focused performance moments. Most of all, though, the choreography of Winter Series achieved something remarkable, and probably unintended. The program showcased an invisible and misunderstood force in the visual world of choreography; Hubbard Street's Winter Series was a master class in how to use music in Dance.

Hubbard Street's Summer Series: So Different, So Good

acqueline Burnett and Jesse Bechard in Malditos.  Photo by Todd Rosenberg

Hubbard Street Dance Chicago opened their Summer Series at the Harris Theater Thursday, presenting three very different works from three inspired choreographers. Alejandro Cerrudo's Malditos opens the program, followed by William Forsythe's Quintett. Batsheva Dance Company Artistic Director Ohad Naharin's THREE TO MAX completes the evening, and "completes" is an understatement. The three works cover an unbelievable range of choreography and music, but what they all have in common is that Hubbard Street is performing them. In all three works the Hubbard Street dancers look like they invented the concert stage; it doesn't seem to matter what artistc vision they find themselves inside of, they're always at home.

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