Jacob’s Pillow, Becket, MA
through August 5, 2018
by Josephine Sarnelli
It seemed fitting that to celebrate the 40th anniversary of
Hubbard Street Dance Chicago that its founder Lou Conte would be in the
audience and that his 1978 choreography “The 40s” would be the finale. This
piece alone would have been worth the price of admission. The 16 men and women
were all identically dressed in white shirts, bow ties, vests, suit pants, and
white dance sneakers.
The music, a medley of Big Band hits, generated the energy
for the period dances … jazz, jitterbug, lindy, and jive. But the level of this
performance demonstrated the true skill of these highly trained dancers.
Conte’s signature choreography exemplified what has made Hubbard Street the
legend that it is and established the standard that audiences have come to
expect.
Hubbard Street is a repertory company that represents many
choreographers and dance styles. Its dancers must be cross-trained in multiple
genres of dance to respond to the variety of choreographers; hence, the
ensemble attracts some of the most talented. In the true fashion of a repertory
company, the program at Jacob’s Pillow highlighted three other choreographers,
in addition to Conte. Therefore, perhaps this program is best viewed as a study
of the choreographers.
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| Photo by Hayim Heron |
“Lickety Split” showcased the work of Alejandro Cerrudo,
Hubbard Street’s first resident choreographer. There is a light heartedness and
touch of humor to how three couples addressed the unpredictable nature love.
The aerial lifts were effortless and their timing perfect. The joyful running
of the dancers was reminiscent of Paul Taylor’s iconic “Esplanade.”
The ensemble performed “Grace Engine” by Canadian
choreographer Crystal Pite, set in the darkness of the subway to the sounds of
moving trains stopping at stations to let passengers on and off. The visual
effects from occasional bright lights and screen curtains clearly placed the
audience underground. There was an eerie, abstract quality to how the dancers
fought off demons, perhaps either external or internal. There was a monotony to
the sound, the darkness, and the movements that was at first hypnotic to the
audience. However, the piece was too long and had the effect of dulling the
viewer’s senses to the anguish being portrayed.
The first half of the program was excerpts from Ohad
Naharin’s Decadance/Chicago. In the debate as to whether dance is art or
entertainment, this was neither. Its dark humor could be best described as
vulgar, as signs posted at the entrances warned. Coupled with its
repetitiveness and underutilization of skilled dancers, this routine was not in
keeping with what has brought fans to Hubbard Street Dance Chicago for four
decades.
