Chicago Repertory Ballet in Shannon Alvis’ “Trees, Melody”/Photo: Topher Alexander
This weekend Chicago Repertory Ballet will present their annual spring series, “Modern Motions,” at the Ruth Page Center for the Arts. The collection of short works promises to showcase the versatility, skill and heart of this ambitious company.
The show will open with an excerpt from Brian Enos’ “Blue Roses Falling,” an evening-length piece originally created for Enos’ Big Muddy Dance Company, based in St. Louis. This excerpt will be the first appearance of the ballet in Chicago.
All pieces on the program are by contemporary and local choreographers, save the “Spring Waters” pas de deux—choreographed by Ballets Russes member Asaf Messerer in 1959—which Chicago Repertory Ballet founder and artistic director Wade Schaaf playfully tucks into the first half. The sweeping duet is danced by Molly McGivern and Nicholas Hittle who, during my rehearsal visit, attacked the cross-stage dives and overhead lifts with relish.
Next comes a new full-company work by Schaaf, “Lua Descolorida,” inspired by Catalan poet Rosalia de Castro’s poem about the moon. I got to see the first half of the piece, set to music by Dead Can Dance (“Every modern class I took in the nineties was playing Dead Can Dance,” Schaaf whispered to me), which is for six women, five on pointe. Classical and folkloric movement blend, becoming more rhythmic as the strings accelerate. The second section, which I didn’t get to view, will be for eight other paired-off dancers.
A standout of the “Modern Motions” program is sure to be Braeden Barnes and Michelle Meltzer’s “Till Then, I’m Yours,” a new piece created for Chicago Repertory Ballet that manages to both celebrate and poke affectionate fun at ballet—often in the same gesture. The opening sequence is a basket of Easter eggs for those well-versed in dance tropes, but you don’t have to know a thing about neoclassical ballet to get the humor. Operatic bows are taken, black roses go flying, all amidst compelling, technically demanding choreography. It’s self-satire that can only be created by artists with a deep love of their craft; people who take their work seriously. But not too seriously.
“Braeden and Michelle have an amazing use of humor,” Schaaf says. “It’s one of the ways we can get through the rigor.”
“Modern Motions” will conclude with remounts of Shannon Alvis’ “Trees, Melody” and Schaaf’s “Birthday Fete,” another light-hearted, high-speed romp that really lets you know when to clap. Expect an evening of graceful and upbeat works, danced with full-hearted sincerity and hard-won skill.
“Modern Motions” at the Ruth Page Center for the Arts, 1016 North Dearborn, May 10-12, Friday & Saturday 7:30pm, Sunday 3pm. $35-$60. Tickets at chicagorepertoryballet.com.
