Hubbard Street Dance Chicago’s core purpose is to bring artists, art and audiences together to enrich, engage, educate, transform and change lives through the experience of dance. Celebrating Season 40 in 2017–18, under the artistic leadership of Glenn Edgerton, Hubbard Street continues to innovate, supporting ascendant creative talent while presenting repertory by internationally recognized living artists.
Hubbard Street has grown through the establishment of multiple platforms alongside the Lou Conte Dance Studio — now in its fifth decade of providing a wide range of public classes and pre-professional training — while extensive Youth, Education, Community, Adaptive Dance and Family Programs keep the organization deeply connected to its hometown. Visit hubbardstreetdance.com for artist profiles, touring schedules, and much more.
Founding Artistic Director
Head Carpenter and Director of Stage Operations
Head of Audio
Stage Manager and Head of Props
Jenni Schwaner Ladd
Director of Lou Conte Dance Studio
Director of Youth, Education, and Community Programs
Director of Artist Training
Director of Finance and Operations
Director of Marketing
Hubbard Street Dancers
Craig D. Black Jr., Jacqueline Burnett, Rena Butler, Alicia Delgadillo, Kellie Epperheimer, Michael Gross, Elliot Hammans, Alice Klock, Myles Jean Lavallee, Adrienne Lipson, Florian Lochner, Ana Lopez, Andrew Murdock, Minga Prather, David Schultz, Kevin J. Shannon, Connie Shiau.
Grace Engine, from Crystal Pite. In the words of critic Chris Jones, he has the ability to individualize and dehumanize the human body at the same time. He is interested in the duality between relationships, which are always contained in a broad existential fragility, and our self and its external consequences.
Jones finds it fascinating that Pite rarely shows the beginning or end of a bodily movement. Frequently, the light appears on the scene when the movement has already begun, and the light fades without you see what the actions are, leaving the viewer with the sensation that he witnessed just a moment of the deepest questions of the creator.
A dramatic lighting and electronic music by Owen Belton distinguishes Grace Engine. There is in this work a certain nostalgia and a slight evocation of the passage of time, of how we are linked to others and to our ancestors, without ceasing to see forward, according to Pite itself.
Alexandra Damiani and Jessica Tong
Craig D. Black Jr., Jacqueline Burnett, Rena Butler, Alicia Delgadillo, Kellie Epperheimer, Michael Gross, Elliot Hammans, Alice Klock, Myles Lavallee, Adrienne Lipson, Florian Lochner, Minga Prather, David Schultz, Kevin J. Shannon, Connie Shiau
Combining sensual and fluid movement with playful gestures, Lickety-Split is a contemporary work danced by three couples enveloped in the unpredictable layers of love. Moved by the sounds of renowned Bay Area songwriter Devendra Banhart, Lickety-Split is an example of the multi-faceted talent of the company’s artists.
Created and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Millennium Park, Chicago, on September 27, 2006. Based on “Come True,” created for “Inside/Out,” Hubbard Street’s Choreographic Workshop, sponsored by Elizabeth F. Cheney Foundation, with additional support from the National Endowment for the Arts. Music by Devendra Banhart: from the album Rejoicing in the Hands, “A Sight to Behold,” “This Beard Is for Siobhan,” “Tit Smoking in the Temple of Artesan Mimicry,” and “Rejoicing in the Hands”; copyright 2004 Young God Records. From the album Cripple Crow, “Korean Dogwood”; copyright 2005 XL Recordings. From the album Heard Someone Say, “Lickety-Split”; copyright 2005 XL Recordings.
Alicia Delgadillo, Elliot Hammans, Rena Butler, Myles Lavallee, Alice Klock, Florian Lochner
Decadance/Chicago includes fragments of other choreographies by Naharin, including his iconic work Minus 16, in which a soundtrack with the seductive voice of Dean Martin, mambo, techno and traditional Israeli music accompany the unstoppable and wild sequences of the dancers. When merging the works, he demonstrates that he is a genius capable of constructing an unpublished piece with the same coherence that each original version possesses, in the words of the specialized critic.