In 1988, Melissa Thodos presented her first major professional work, a solo she also performed, at the Internationale Dance de Paris competition. "Reaching There" was innovative and elegant; it featured a brilliant original electronic score and a large (almost as big as her) wood cylinder, the Wheel, that she danced through, around, and with in what turned out to be an award-winning work. "Reaching There" also defined the beginning of an important career; it brought the talented dancer recognition as a choreographer, and began a trajectory that led not long afterwards to the founding of the Company that is now Thodos Dance Chicago. In the twenty years that followed, Thodos' career expanded; while it always included successful and award-winning choreographic work, it began to be even more defined by the development of a very different concept in what a Dance Company can be. Her idea of emphasizing equally performance, choreography and education led to a Company of artists who now include several award-winning choreographers in their own right.
Artistic collaboration is an art of its own, and a successful collaboration can achieve a level of artistic expression that is very different from what either of the artists individually might have found without the other. It seems like this would be particularly true of large, daunting artistic projects, but with collaboration, as with any art, the larger the undertaking, the more complicated the challenges become. In Ann Reinking and Melissa Thodos' "The White City: Chicago's Columbian Exposition of 1893", the two choreographers present an intricate, large-scale work that embraces a daunting series of artistic challenges, and in their collaboration manage somehow to bring all of them together into a single, convincing presentation.
It might seem surprising that a renowned Jazz and Broadway choreographer and an innovative and respected Contemporary choreographer would together make a ballet, but to call the work a ballet isn't entirely accurate. The richly costumed, story-driven work, framed by a compelling, classically textured score, creates an experience that is certainly ballet-like, and the scope of the work is also on that scale. Yet the movement vocabulary is multi-disciplined, and while there is a framework of the classical in the movements that portrays story, "The White City" is too complex to classify. The Thodos Dance performers bring such unrelenting commitment and ability to the thirteen scenes, and the entire concept is so intricately interwoven with Nathan Tomlinson's lighting, Chris Olsen's video, Nathan Rohrer's costumes, Gary Chryst's staging, and the Carpe Diem String Quartet's impeccable presentation of Bruce Wolosoff's "Songs Without Words" that there may not be any real reason for (or any real chance of) categorizing the work. More intriguing is to speculate about where this comes from, about how Reinking and Thodos found this, imagined this, made this.
JMT/JLS, the evening of choreography by Jessica Miller Tomlinson and Jacqueline Stewart, is one of those shows that’s really too good to miss. It runs one more night (Saturday, June 5 at 8PM) at the Ruth Page Center for the Arts, and if there’s any way you can get to it, do. There aren’t too many other places where you could see such a wide-ranging selection of really imaginative work. It includes compelling ensemble pieces like Jaqueline Stewart’s “Re-directing Fear” and Jessica Miller Tomlinson’s “Let Me In”, a pair of mesmerizing duets (Tomlinson’s “Crimes D’Amour in the first act, Stewart’s “It’s Not Enough To Close Your Eyes" in the second), and five other intricately imagined and superbly executed works: “Aurora”, a solo danced by Cara Sabin, Stewart’s “Nice Women Don’t Crave Disaster”, Tomlinson’s “Forget What You Came For?”, Stewart’s “E-ffect”, and Tomlinson’s “Die Lieder Tanzen”.