Review by Stephen Best
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Presented on the main stage at the Athenaeum Theatre, the 15th Annual New Dances program was something remarkable to behold. For 14 years, Thodos Dance Chicago has cultivated and nurtured new American dance creation fashioned right here in the Windy City. By collectively facilitating and nurturing the choreographic careers of more than 70 Chicago-based artists through it renowned New Dances series, Chicago’s earliest and most comprehensive in-house choreography series, New Dances wows. 2015 marks the 15th consecutive year Thodos’ New Dances series encourages its crop of dance talent to step behind the scenes and play creator, choreographer and director. The end results were eight fundamentally different, unique, whimsical and touching performance pieces. For the ninth piece, guest choreographer Brian McGinnis was invited to return to construct a one-of-a-kind, visionary performance dance piece which demonstrated the combined desire and skill set of each dancer as well as his own passion as an educator and choreographer. I have briefly broken down the nine individual vignettes below.
Waiting For What: Choreographed by Tenley Dorrill, costume by Moriah Turner featuring the talents of John Cartwright, Tenley Dorrill, Abby Ellison, Caitlin Helfin, Taylor Mitchell, Sydney Pangman, Alissa Tollefson, and Diana Winfree. This talented troupe of eight made effective use of the light and shade in this introductory piece. Employing folding chairs and the floor as props to propel motion across the stage, then ending the piece with a bold, solo figure of man, solitary, in just a hat worn slightly askew. Utilizing the lighting technique of fading to black mid-song, giving the dancers seconds to resent for their additional combinations. What a great, dramatic, enthralling way to start the show.
A Fragile Acceptance with choreography by Abby Ellison, costume design by Nathan Rohrer and featuring dancers John Cartwright, Marissa DeBendictis, Tenley Dorrill, Kyle Hadenfeldt, Katy Kowalski, Amy McMurchie, Taylor Mitchell, and Brenna Renteria. This team of eight, four men and four woman, featured a frenetic, almost feline energy throughout the choreography. Vibrant and thrilling to watch as it unfolded across the stage.
Go Ahead And Turn Back with choreography by Briana Robinson, costume design by Moriah Turner and Autumn Rentsch with dancers Greg Blackman, Caitlin Heflin, Katy Kowalski, Felicity Nicholson, Amy McMurchie and Sajen Banister. Dressed in black shorts and grey t-shirts with bright red accents across their backs, this group of six; five women and one man, were visually strong and steadfast. Their unified, fluid movements mesmerizing to behold.
Somatic with choreography by John Cartwright, costume design by Nathan Rohrer and featuring dancers John Cartwright, Daniel Chenoweth, Marissa DeBenedictis, Sarah Farnsley, Erin Finn, Felicity Nicholson, Owen Scarlett and Emily Walen. Clad in matching grey jumpsuits this vignette played with the evolving traditional gender roles throughout the performance. Featuring couplings by a man and a women, two women and then two men, the “mixed doubles” as it were, combined similar strength with sweeping detail. The ending of this piece, a stark, solitary woman.
All You Need Is with choreography by Taylor Mitchell and featuring the familiar music Charleston, Can Can, Le Parc de Plaisir and Si Tu Vois Ma Mere, costume design by Moriah Turner and dancers Jared Baker, Elizabeth Dickson, Tenley Dorrill, Abby Ellison, Taylor Mitchell, Alissa Tollefson, Emily Walen, and Diana Winfree. The most whimsical and lively, spirited number of the entire showcase, act one concluded with an almost Mime-esque ballet jam-packed with physical comedy and a lighthearted rambunctiousness in comparison to the heavier pieces that proceeded it. 8 dancers, adorned in coordinating black and white striped shirts, showered the stage with love, quite literally, in the form of a sea of miniature red paper hearts, whimsically strewn across the set. Then, using their very bodies as a broom, collectively attempted to sweep up their rosy river of valentines. Cheeky, amusing, and played for enormous levity and laughs, All You Need Is was a grand way to end a first act.
Miriam with choreography by invited guest choreographer Brian McGinnis costume design by Nathan Rohrer and featuring the dancing talents of Abby Ellison, Kyle Hadenfedlt, Briana Robinson, Brennen Renteria, and Diana Winfree. Three separate stories told throughout this dance. The first, a solo performance by a brunette in a white wrap dress fusing traditional ballet movement and modern jazz technique to a truly beautiful effect. The second, a humor filled coupling of a man and woman, dressed in grey, physically lamenting a marriage. Played straight for laughs, these two dancers stole this number, hands down. The third part, a divine, ballet fueled piece; a couple demonstrating strong and powerful lifts and dreamy arm movements. Lovely and lyrical, a marvelous way to welcome the audience back to the second half of the program.
Go. choreographed by Alissa Tollefson with costume design by Autumn Rentsch featuring the dancers Marissa DeBendictis, Helen Grdina, Kasha Hilton, Carley Klebba, Nashley Mattocks and English Swanson. Dressed in chocolate brown shorts and billowy white, short sleeve shirts, this is the only number that didn’t hold my attention. There were repeated moments when the dancers lost their precision unison and I found it visually distracting. I was taken out of the moment they were attempting to create to focus on the flaws, and that is not what modern dance is to celebrate.
Something To Do With Five choreographed by Jessica Miller Tomlinson with costume design by Autumn Rentsch and featuring an all male cast featuring dancers Daniel Chenoweth, Michael McDonald, Taylor Mitchell, Brennen Renteria, and Owen Scott. To me, this was the breakout vignette, and highlight of the night. With lush sepia colored lighting and costuming, a caressed fusion of homoerotic and racial tension. In 20’s inspired vests and trousers, the men brought a sultry combination of desire and power, a cappella vocals and precision movement. The lifts were impressive, leg and arm extensions, both masculine and breathtaking. All eyes were riveted to the brazen and bold performances unfolding on the stage. The best of the night.
So Young, It Runs choreographer Kyle Hadenfeldt, costume design by Brittany Hassler and dancers John Cartwright, Brennen Renteria, Daniel Chenoweth, Alissa Tollefson, Nashley Mattocks, Amy McMurchie, Sajen Banister and Emily Walen. The lively finale had the cast adorned in turquoise and featured hot, sexy lifts, and a lot of skin. Romantic, harmonious, fluid and feminine, almost like watching the personification of the ocean as it ebbs and flows at high tide on a windy day, a celebration of modern movement and contemporary dance style.
Sharing a passion for visually stunning, landmark, and revolutionary dance pieces full of great promise and passion, New Dances had a little something to offer for all tastes. From classic ballet to modern jazz, witnessing dance performed extraordinary well can sincerely be a transformative experience. And knowing that the participants involved are the future Martha Graham’s, Bob Fosse’s, Alvin Ailey’s and Derek Hough’s is inspiring as well. My only complaint is New Dances comes and goes so quickly with only just two opportunities, annually, to experience the show. Mark your calendars now for next year. Thodos Dance Chicago’s New Dances is can’t miss ensemble dancing.
Thodos Dance Chicago’s 15th Annual New Dances played at the Athenaeum Theatre July 18 & 19, 2015