Hubbard Street Dance Chicago in Little mortal jump by Alejandro Cerrudo.

Photo Todd Rosenberg

Chicago is luckyto call the glorious movers and shakers of

Hubbard Street its own.
- Los Angeles Times

HISTORY
Now celebrating its landmark 35th Anniversary Season, Hubbard Street Dance Chicago, under the artistic
direction of Glenn Edgerton since 2009, is one of the most original and forward-thinking forces in
contemporary dance. The core purpose of Hubbard Street is to bring artists, art and audiences together to
enrich, engage, educate and transform lives through the experience of dance. Hubbard Street serves as
an emblem of the citys international cultural profile and continues its role as a leader in the field of dance,
pushing the art forward by creating new works, diversifying repertoire and cultivating the next generation
of dancers and choreographers.
Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio, when in 1977 several aspiring
young artists approached dance teacher/choreographer Lou Conte to teach tap classes. At the time, the
studio was located at the corner of LaSalle Street and Hubbard Street, which is how the company acquired
its name. Within a decade it began to attract nationally known choreographers to create dances for the
Company. Conte served as director for 23 years, during which he developed relationships with emerging
and world-renowned choreographers including Lynne Taylor-Corbett, Margo Sappington, Daniel Ezralow,
Nacho Duato, Jir Kylin and Twyla Tharp, all of whom helped shape Hubbard Streets repertoire into what
it is today.
In 2000, Jim Vincent stepped into the role of Artistic Director. Vincent worked to further expand the
companys programming, repertoire and acclaim, while also building a legacy of new choreographic
development. He introduced initiatives that have become staples of Hubbard Streets programming,
including the Inside/Out Choreography Workshop, during which Hubbard Street dancers create original
choreography for their peers; and the Choreographic Fellowship, which identifies and develops emerging
choreographic talent from within the company. Dancers Alejandro Cerrudo and Robyn Mineko Williams, as
well as Rehearsal Director Terence Marling have all developed works for the company. Dancers Penny
Saunders and Jonathan Fredrickson have also choreographed works for Hubbard Street 2 (the second
company) through Hubbard Streets annual National Choreographic Competition.
In 2009, then Associate Artistic Director Glenn Edgerton stepped into the role of Artistic Director. Soon
after, he named Alejandro Cerrudo Hubbard Streets first Resident Choreographer. Cerrudo has created
ten works for the company, and his first full length work will launch the Companys 35th Anniversary
Season. Edgertons dynamic artistic vision for fostering new works and strengthening the companys
repertoire while cultivating and deepening relationships with collaborative partners has fast become a
reality. Since becoming Artistic Director, Edgerton has secured new commissions and repertoire hits by
master and notable choreographers including Jir Kylin, Nacho Duato, William Forsythe, Mats Ek, Twyla
Tharp, Ohad Naharin, Victor Quijada, Aszure Barton and Sharon Eyal to name a few.
Key to Hubbard Streets mission is to cultivate collaborative partnerships with Chicagos most significant
cultural and community organizations. Since 2000, Hubbard Street has established partnerships with the
Chicago Symphony Orchestra, presenting new and existing choreography set to orchestral music
performed by the symphony; the Art Institute of Chicago, producing dance works within art exhibits and
free information sessions to the public to explore the vital connection between dance and art; Illinois
Institute of Technology School of Architecture, re-imagining the space in which dance is performed; and
Rush University Medical Center, which helped establish the HSDC Parkinsons Project, using contemporary
dance techniques to improve the mobility and quality of life for participants.
Main Company
Today, the main company is comprised of 17 dancers who display unparalleled versatility and virtuosity.
One of the only American dance companies to operate year-round, Hubbard Street continues to produce
bold and passionate performances in Chicago, at national and international celebrated dance venues, and
through some of the most cutting-edge dance programs at prestigious universities around the country.
While many contemporary dance peers are single-choreographer organizations, Hubbard Street has
always been a repertory company, representing numerous choreographers and styles. The company in its
entirety has grown to be recognized as a leader in the creation and development of new choreography,
unique collaborations and innovative production concepts.

HISTORY, continued
Its importance is based both as a repository of work from some of the 20th and 21st centurys best
contemporary choreographers and as a commissioning agent of new works, having commissioned and
presented almost 200 new and acquired dance works throughout its history. Critically acclaimed for its
exuberant, athletic and innovative repertoire, Hubbard Street is always changing and evolving while
maintaining the highest artistic standards. Additionally, Hubbard Street now offers a Summer Intensive,
which provides concentrated training in ballet and modern technique classes, repertoire rehearsals, dance
history lectures and health and wellness presentations to pre-professional dancers from across the nation.
Hubbard Street 2
Hubbard Street 2 (HS2), founded by Julie Nakaawa Bottcher and now led by Taryn Kaschock Russell,
formed in 1997 to prepare dancers ages 18-25 for the life of a professional dancer in a contemporary
company. HS2 provides talented young artists a chance to develop their professional experience, fostering
them quickly into dynamic and bold dancers. The companys vibrant environment gives dancers the
experiences necessary to develop strong technique and an individual voice. HS2 dancers are known for
their athleticism and fearless dancing. Under the direction of Taryn Kaschock Russell, HS2s six company
members perform and tour to critical acclaim at venues around the world. To date, 17 HS2 dancers have
advanced to the main company, and many more have joined other national and international companies.
HS2 hosts the annual National Choreographic Competition, which gives three emerging choreographers
chosen from hundreds of applicants the chance to realize their artistic expression on the dancers of the
second company. Over 30 new works have been created for HS2 as part of the National Choreographic
Competition.
Lou Conte Dance Studio
Under the direction of Claire Bataille, one of the original four Hubbard Street dancers, Lou Conte Dance
Studio (LCDS) attracts aspiring dancers from around the nation and dance enthusiasts in the Chicago
area. Named Best Dance Class for Adults by Chicago magazine, LCDS offers a wide variety of weekly
classes in ballet, jazz, modern, tap, African, hip hop, African drums, musical theater, yoga, Pilates and
Zumba at all levels from basic to professional, as well as workshops and master classes. As part of its
commitment to providing quality training for the community, LCDS maintains a scholarship program for
advanced dancers that provides a definitive step into the professional dance world. With an exceptional
faculty of experienced performers, choreographers and musicians from the Chicago community, LCDS
continues to be at the forefront of the nations training institutions.
Education & Community Programs
Hubbard Streets Education & Community Programs began in 1997 in order to offer movement-based arts
experiences to students, teachers and families throughout the Chicago area, giving them opportunities to
participate in dance activities and to enhance their learning in other curricular areas. These programs,
under the direction of Kathryn Humphreys, bring students into the world of dance by actively engaging
them in perception, research, reflection and discussion, assisting them in strengthening basic proficiencies
to develop analytical and abstract thinking, interpretation and problem-solving skills. Hubbard Streets
partnerships with schools provide teaching artists and educators the opportunity to plan, teach and learn
together to create exciting and meaningful integrated curriculum which challenges students and takes
learning to new levels. Hubbard Street also offers family workshops and youth dance programs at the
Hubbard Street Dance Center and through its community partnerships at locations throughout the city.

EXECUTIVE BIOGRAPHIES
GLENN EDGERTON (Artistic Director) joined Hubbard Street Dance Chicago after an international
career as a dancer and director. He began his dancing career at The Joffrey Ballet where, mentored by
Robert Joffrey, he performed leading roles in the company's contemporary and classical repertoire for 11
years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five
years. He retired from performing to become artistic director of the main company, leading NDT for a
decade and presenting the works of Jir Kylin, Hans van Manen, William Forsythe, Ohad Naharin, Mats
Ek, Nacho Duato, Jorma Elo, Johan Inger, Paul Lightfoot and Sol Leon, among others. From 2006 to 2008,
he directed The Colburn Dance Institute at The Colburn School of Performing Arts in Los Angeles.
Edgerton joined Hubbard Streets artistic leadership team full-time as associate artistic director in 2008.
3

Since 2009, Edgerton has guided the company forward as artistic director, building on more than three
decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work established
the company as a leader in dance performance, education and appreciation.
JASON D. PALMQUIST (Executive Director) joined Hubbard Street Dance Chicago in May 2007, after
serving the arts community in Washington, D.C. for nearly 15 years. Palmquist began his career at the
John F. Kennedy Center for the Performing Arts, completing his tenure there as vice president of dance
administration. At the Kennedy Center, he oversaw multiple world-premiere engagements of
commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet and the inception in
1997 of the Millennium Stage, an award-winning, free daily performance series that to date has served
more than 3 million patrons. Deeply enriching the Kennedy Centers artistic programming, he successfully
presented engagements with many of the worlds most important dance companies including the Royal
Ballet, Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet
Theatre and New York City Ballet. Palmquist also managed the Kennedy Centers television initiatives,
including the creation of the Mark Twain Prize for American Humor and a prime-time special on NBC
memorializing the first anniversary of the September 11 attacks. In 2004, he accepted the position of
executive director of the Washington Ballet. Under his leadership, the company presented full performance
seasons annually at the Kennedy Center and the Warner Theater, and nurtured its world-renowned school
and extensive education and outreach programs. A graduate of the University of Northern Iowa, Palmquist
currently serves on the boards of the Arts Alliance of Illinois and the Harris Theater for Music and Dance.
KRISTEN BROGDON (General Manager) joined Hubbard Street Dance Chicago in July 2007, after nine
years at the John F. Kennedy Center for the Performing Arts in Washington, D.C., where she first worked
with Hubbard Street Executive Director Jason Palmquist. During her tenure at the Kennedy Center,
Brogdon was responsible for programming the facilitys unparalleled ballet and contemporary dance
season. She managed The Suzanne Farrell Ballet from its inception in September 2001 and was
instrumental in the creation and growth of the Metro D.C. Dance Awards. Brogdon also created and
produced a commissioning program for local choreographers, facilitating work by 20 artists from D.C.,
Maryland and Virginia. Prior to the Kennedy Center, she was the company manager and publicist for Li
Chiao-Ping Dance, a modern dance company based in Madison, Wisconsin. Brogdon holds a Master of Arts
in Business with a concentration in Arts Administration from the University of Wisconsin and a Bachelor of
Arts in Economics from Duke University.
TARYN KASCHOCK RUSSELL (Director, HS2) joined Hubbard Street Dance Chicago after an extensive
career with the Joffrey Ballet. Starting in 1995 she spent seven years performing and touring extensively
with the company. During that time, she expanded her artistry by dancing the principal roles in classic
works by Agnes DeMille, George Balanchine, Martha Graham and John Cranko. She was also the first
woman outside of David Parsons company to dance his signature solo Caught. Kaschock Russell joined
Hubbard Street Dance Chicago in 2002 and the following January was named one of Dance Magazines 25
to Watch. Her Hubbard Street repertoire included master works by Jir Kylin, Nacho Duato, William
Forsythe and Ohad Naharin. Kaschock Russell also participated in numerous original creations while a
member of the company. In 2007, she became a member of Hubbard Streets artistic staff and began
teaching company class, conducting rehearsals and re-setting choreography. She was named Director of
Hubbard Street 2 in 2008 and also coordinates Hubbard Streets National Choreographic Competition. In
2010 Kaschock Russell conceived and directed the critically acclaimed Hubbard Street 2 family program
Harold and the Purple Crayon: A Dance Adventure.
TERENCE MARLING (Rehearsal Director) began his ballet training in 1982 at the Ruth Page School of
Dance under the direction of Larry Long. In 1994, he joined the Pittsburgh Ballet Theater directed by
Patricia Wilde, performing works by George Balanchine, Glen Tetley, Paul Taylor, Jir Kylin, Ohad Naharin,
Kevin ODay and Dwight Rhoden as well as many full-length classical ballets. In 2003 Marling was invited
to join the National Theatre Mannheim in Germany under the direction of Kevin ODay where he
participated in the creation of many new works. Marling joined Hubbard Street Dance Chicago in April of
2006 and danced with the company until December of 2009. He participated in the creation of new works
with Jorma Elo, Toru Shimazaki, Jim Vincent, Lucas Crandall and Alejandro Cerrudo, and danced works by
Susan Marshall, Nacho Duato, Ohad Naharin, Margarite Donlon, Jir Kylin and others. Marling became
Rehearsal Director for Hubbard Street in January of 2010.

EXECUTIVE BIOGRAPHIES, continued

ALEJANDRO CERRUDO (Dancer, Resident Choreographer), born in Madrid, Spain, received his
training at the Real Conservatorio Professional de Danza de Madrid. After becoming a professional dancer
in 1998, Cerrudos dance career has been shaped and enriched by various dance companies including
Victor Ullate Ballet, Stuttgart Ballet, Nederlands Dans Theater II and, since 2005, by Hubbard Street
Dance Chicago. In 2008 Cerrudo was named Hubbard Street Choreographic Fellow and became the
companys first Resident Choreographer in 2009. Cerrudo has created several works for Hubbard Street
and for the companys unique collaborations with the Chicago Symphony Orchestra and Nederlands Dans
Theater. Cerrudos works are performed by dance companies around the U.S. and the world, including
Germany, Denmark, The Netherlands and Australia. Always dancing and constantly creating, Cerrudo was
honored with an award from The Boomerang Fund for Artists in 2011.
CLAIRE BATAILLE (Director, Lou Conte Dance Studio) was a leading dancer with Hubbard Street
Dance Chicago from 1977-1992, performing works created by Lou Conte, Twyla Tharp, Lynne TaylorCorbett, Daniel Ezralow, John McFall and Margo Sappington. She received the Ruth Page Award for
Outstanding Dancer in 1992. From 1977-2001 Bataille also served the company as Assistant Artistic
Director, Ballet Mistress and Rehearsal Director. She choreographed five works for Hubbard Street
between 1978 and 1985 and toured nationally and internationally with the company. Bataille began
teaching at the Lou Conte Dance Studio in 1975 and has been teaching dance in Chicago ever since.
Currently she is on the faculty of the Lou Conte Dance Studio and River North Chicago Dance Company
and is a guest teacher for several Chicago companies. In 2003 she earned her certification in the Pilates
Method in New York with Romanas Pilates. In 2005 Bataille was appointed Associate Director of the Lou
Conte Dance Studio at the Hubbard Street Dance Center and in 2008 was promoted to Director.
KATHRYN HUMPHREYS (Education Director) develops and implements dance education initiatives
designed to improve teacher and teaching artist practice and collaboration to effect whole school change
and further understanding of the role of dance in public education. With more than a decade of experience
in arts education, her work supports local and national groups as they work to understand and implement
dance education in the public schools, utilizing the model developed by Humphreys at Hubbard Street. She
holds an MA in Dance from Texas Womans University and consults locally and nationally on issues relating
to dance education and research.
LOU CONTE (Founder), after a performing career including Broadway musicals such as How to Succeed
in Business Without Really Trying, Mame and Cabaret, established the Lou Conte Dance Studio in 1974
and three years later founded what is now Hubbard Street Dance Chicago. Originally the companys sole
choreographer, he developed relationships with emerging and world-renowned choreographers as the
company began to grow, adding bodies of work by a variety of artists including Lynne Taylor-Corbett,
Margo Sappington and Daniel Ezralow. These relationships transformed Hubbard Street Dance Chicago
into the internationally acclaimed repertory company it is today. Conte continued to build Hubbard Streets
repertoire by forging a key relationship with Twyla Tharp in the 1990s, acquiring seven of her works,
including an original work for the company. Conte further expanded the companys repertoire to include
European choreographers Jir Kylin and Nacho Duato and Israeli choreographer Ohad Naharin.
Throughout his 23 years as the companys artistic director, Conte received numerous awards, including
the inaugural Ruth Page Artistic Achievements Award in 1986, the Sidney R. Yates Arts Advocacy Award in
1995 and the Chicagoan of the Year award from Chicago magazine in 1999. In 2003 Conte was inducted
as a laureate in the Lincoln Academy of Illinois, the states highest honor. He has been credited by many
for helping to raise Chicagos international cultural profile and for creating a climate for dance in the city,
where the art form now thrives.

THE DANCERS OF HUBBARD STREET DANCE CHICAGO

GARRETT ANDERSON (Tucson, AZ) began his training in Walnut Creek, California under the direction of
Richard Cammack and Zola Dishong at the Contra Costa Ballet Centre. He went on to study at San
Francisco Ballet school and then in Pacific Northwest Ballets professional division. In 2001, Anderson
joined San Francisco Ballet as a member of the corps de ballet and in 2005 was promoted to soloist. In
2008, he joined the Royal Ballet of Flanders in Antwerp, Belgium, as a first soloist under the direction of
Kathryn Bennets. There he toured extensively throughout Europe and the world. In January of 2011, he
returned to the United States to dance with Trey McIntyre Project. Anderson was the recipient of the
5

American Ballet Theatre national dance scholarship and holds a B.A. in dance from St. Marys College of
California. Anderson joined Hubbard Street Dance Chicago in August 2011.
JESSE BECHARD (Bolton, MA) began his formal ballet training at 16 and graduated from Walnut Hill
School for the Arts. He attended summer programs at Boston Ballet, Alonzo Kings LINES Ballet and Ballet
Austin. In 2000, having completed his freshman year at the University of Chicago, he returned to dance.
After a year with Ballet Austin he joined Richmond Ballet where he danced for eight years, performing
works by John Butler, Jessica Lang, Val Caniparoli, William Soleau, Mauricio Wainrot and Colin Conner.
Bechard joined Hubbard Street Dance Chicago in August 2010.
JACQUELINE BURNETT (Pocatello, ID) received her classical ballet training in Pocatello, Idaho from
Romanian Ballet Master Marius Zirra, with additional summer training at Ballet Idaho, Brindusa-Moore
Ballet Academy, Universal (Kirov) Ballet Academy, the Juilliard School and the San Francisco Conservatory
of Dance. She received a BFA in Dance Performance from The Ailey School/Fordham University joint
program in New York City in May 2009, graduating magna cum laude and with departmental honors.
Burnett joined Hubbard Street Dance Chicago as a Center Apprentice in January, 2008, while concurrently
completing her BFA degree, and became a member of the main company in August, 2009. Burnett is also
a 2011-12 Princess Grace Honorarium recipient.
ALEJANDRO CERRUDO see staff bios.
MEREDITH DINCOLO (Indianapolis, IN) began dancing at age seven in Indianapolis and continued her
training under Iacob Lascu in Michigan. She graduated from the University of Notre Dame in 1993 and
moved to Chicago to pursue dance. In 1996, Dincolo joined Hubbard Street Dance Chicago where she
spent four years under the direction of Lou Conte. In 2000, she joined Lyon Opera Ballet and went on to
the Nationaltheater Mannheim, under Kevin ODay and Dominique Dumais. Dincolo returned to Hubbard
Street Dance Chicago in November 2004.
KELLIE EPPERHEIMER (Los Osos, CA) began her dance training in 1988 with the Academy of Dance and
Civic Ballet of San Luis Obispo. Epperheimer joined Hubbard Street 2 in January 2005 before becoming an
apprentice with the main company in December 2006. Epperheimer became a full company member in
January 2008.
JONATHAN FREDERICKSON (Corpus Christi, Texas) studied ballet at the Munro Ballet Studios, home to
Corpus Christi Ballet, under teachers Cristina Munro and Kay Boone. He received his BFA for Dance
Performance and Choreography from California Institute of the Arts in 2006. Immediately thereafter, he
joined the Limon Dance Company where he had the opportunity to perform principal roles. While dancing
with Limon, he created two new works on the company. He is a former winner of Hubbard Street's
National Choreographic Competition and was named one of Dance Magazine's "25 to Watch" in 2011 for
his choreography. Fredrickson joined Hubbard Street in February 2011.
JASON HORTIN (Olympia, WA) graduated from the University of Nevada, Las Vegas with a BFA in dance
under the direction of Louis Kavouras and has danced with Moving People Dance Theatre, the Erick
Hawkins Dance Company and River North Chicago Dance Company. Jason joined Hubbard Street Dance
Chicago as an apprentice in August 2007 and was promoted into the main company in July 2008.
ALICE KLOCK (Ann Arbor, MI) began dancing at the age of 11. In 2003, she attended Interlochen Arts
Academy, where she achieved artistic and academic high honors upon graduation. In 2007, Alice moved
to California to study with Alonzo King in the LINES/Dominican BFA program. She has attended summer
programs at the San Francisco Ballet, The National Ballet School of Canada, Miami City Ballet, Alonzo King
LINES Ballet, San Francisco Conservatory of Dance, Springboard Danse Montreal and Hubbard Street.
Klock has worked professionally on a number of projects with San Francisco choreographer Gregory
Dawson, and had the honor of performing with Alonzo King LINES Ballet in their 2008 home fall season.
She joined Hubbard Street 2 in September 2009 and was promoted into the main company in August
2011.
ANA LOPEZ (A Corua, Spain) began her formal training at Conservatorio de Danza Diputacion de A
Corua. Upon graduating Isaac Diaz Pardo high school, she continued her training at Centro Internacional
de Danza Carmen Roche. Lopez danced with Joven Ballet Carmen Roche, Compaa Nacional de Danza 2
and Ballet Theater Munich before joining Hubbard Street Dance Chicago in January 2008. Lopez was
named one of Dance Magazine's "25 to Watch" in 2012.
6

THE DANCERS, continued

JOHNNY MCMILLAN (Sault Ste. Marie, ON) began his training in Sault Ste. Marie, Ontario at age 12. He
graduated from Interlochen Arts Academy receiving the young artists award in dance. He has attended
summer programs at the San Francisco Conservatory, Bartholin International Ballet Seminar and Hubbard
Street. He has worked with Gleich Dances under the direction of Julia Gleich and was awarded 1st place at
the 2010 American Ballet Competition in both the classical and contemporary divisions. He has performed
roles in ballets such as Arthur Saint-Lons Coppelia, August Bournonville's La Sylphide and Frederick
Ashton's Les Patineurs; as well as works by Randy Duncan, Patrick Corbin, Kim Robards and Hannah
Baumgarten. McMillan joined Hubbard Street 2 as an apprentice in September 2010 and became a
company member in August 2011. In May 2012 McMillian joined the main company of Hubbard Street
Dance Chicago.
LAURA OMALLEY (Phoenix, AZ) received a full scholarship at age 13 to train at the Kirov Academy of
Ballet in Washington D.C., where she graduated in 2000. She was then engaged by Boston Ballet and
subsequently Het Nationale Ballet in Amsterdam. In 2004 she was engaged by the Stuttgart Ballet, where
she was promoted to soloist. Before returning to the United States to dance with Hubbard Street Dance,
she was invited to return to Het Nationale Ballet for a final year. Laura has worked with many
choreographers including Wayne Mcgregor, Douglas Lee, Mauro Bigonzetti, John Neumier, Krzyztof Pastor,
Matjash Mroweskski, Christian Spuck and Marco Goecke, and has danced in pieces by William Forsythe,
Jiri Kylian, Jorma Elo, David Dawson, Hans van Manen and many others.
PABLO PIANTINO (Mendoza, Argentina) began dancing at the age of 14. His training includes private
seminars with Hector Zaraspe and studies at both the Coln Theatre School and the Juilliard School,
where he received his BFA. Having danced with the Coln Theatre Ballet Company and the Juilliard School
Dance Ensemble, Piantino joined the San Francisco Ballet in 1999 and became a Hubbard Street Dance
Chicago company member in August 2005.
PENNY SAUNDERS (West Palm Beach, FL) received her formal dance training at and graduated from the
Harid Conservatory in Boca Raton. While furthering her training under Elisabeth Carroll, she joined the
American Repertory Ballet in New Jersey. Saunders has also danced with Ballet Arizona, toured
extensively with MOMIX and was a member of Cedar Lake Ensemble in New York before joining Hubbard
Street Dance Chicago in November 2004.
DAVID SCHULTZ (Grand Rapids, MI) began his training in Grand Rapids, Michigan with the School of
Grand Rapids Ballet. Before joining the company for four seasons, Schultz studied with the National Ballet
of Canada. He has performed works by Gordon Pierce Schmidt, Peter Sparling and Septime Webre, as well
as Prodigal Son by Balanchine. Schultz studied the techniques and works of Paul Taylor, George
Balanchine, Lester Horton, Martha Graham and Nacho Duato before joining Hubbard Street 2 in
September 2009. He was promoted into the main company in August 2011.
KEVIN SHANNON (Baltimore, MD) began his formal dancing under the guidance of Lester Holmes. He
graduated from the Baltimore School for the Arts, receiving additional summer training at the School of
American Ballet, Miami City Ballet, Paul Taylor and David Parsons. He received his BFA in 2007 from the
Juilliard School, where he performed works by Susan Marshall, Mark Morris, William Forsythe and Jir
Kylin. He has toured nationally with the Juilliard School Ensemble and performed in the nationallybroadcast special Live From Lincoln Center, The Juilliard School: Celebrating 100 Years. He is a cofounder of BRDERLINE DANCE CIRCLEa troupe under the choreographic direction of Michelle Molafor
which he danced professionally and developed concepts since 2005. Shannon joined Hubbard Street
Dance Chicago in November 2007.
JESSICA TONG (Binghamton, NY) received her formal training at The Ballet School in Salt Lake City,
Utah under Jan Clark Fugit, as well as at the University of Utah where she danced as a member of Utah
Ballet. She also attended the summer programs of American Ballet Theatre, San Francisco Ballet, and Lou
Conte Dance Studio, among others. Tong danced with BalletMet in Columbus, Ohio, Eliot Felds Ballet Tech
in NYC, and Hubbard Street 2 before joining the main company in January 2007. Tong was named one of
Dance Magazines 25 to Watch in 2009.
QUINN WHARTON (Seattle, WA) trained at Ewajo Dance Center, North Carolina School of the Arts,
Houston Ballet Academy, Pacific Northwest Ballet School, and San Francisco Ballet School. He joined The
San Francisco Ballet in 2005 and performed featured roles in a variety of works, including Balanchines
Diamonds and Symphony in C; Caniparolis Ibsens House; Fokines Petrouchka; Forsythes Artifact
7

Suite; MacMillans Winter Dreams; Morris A Garden; Taylors Company B; Welchs Naked; Wheeldons
Ghosts and Within the Golden Hour; and Zanellas Underskin. He is also a professional photographer and
videographer in his free time.

CURRENT REPERTOIRE
27'52"
Jir Kylin, Choreography
Cristina Gallofr Vargas and Gerald Tibbs, Staging
Dirk Haubrich, Music
Jir Kylin, Dcor
Kees Tjebbes, Lighting Design
Joke Visser, Costume Design
Jir Kylins 2752 takes the viewer along for a game of seeking and being sought, of holding and being
held, pulling and pushing, a game in which the dancer must ultimately exit the stage solo. Kylin is often
very focused on the use of time and space in dance, and this piece pays particular attention to this
concept. The title itself represents the length of the piece: 27 minutes and 52 seconds. 2752 was
developed through a unique collaboration between choreographer and composer, as German composer
Dirk Haubrich created the music specifically for this piece. The music, like Kylins choreography,
encompasses diverse styles, inspired by a wide array of legendary composers such as 19th century
Austrian composer Gustav Mahler, and is presented alongside a recording of text spoken in a variety of
languages. The multiple layers of 2752 make it unique, both to perform, and to watch, states dancer
Meredith Dincolo. There is a real physicality about the movement and the choreography, which makes it
rich and grounded; and there is an abstract quality in the music, scenery and atmosphere, which
transports the piece to another world. The juxtaposition of these two characteristics keeps the ballet
shifting between the real and surreal, which in turn keeps the dancers and the audience truly engaged.
World Premiere by Nederlands Dans Theater I, February 21, 2002, Lucent Danstheater in The Hague, NL.
Premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Chicago, IL,
March 18, 2010.
Arcangelo
Arcangelo Corelli and Alessandro Scarlatti, Music
Carlos Iturrioz-Mediart Producciones (Spain), General Supervision
Brad Fields, Lighting Design
Nacho Duato, Scenic Design
Nacho Duato, Costume Design
Hubbard Street is honored to be the only U.S. dance company to perform this work. Hubbard Street
Dancers worked directly with Nacho Duato to learn this piece and experience his rehearsal process, which
exhibits the same organic nature as the movement of the piece. Duato focuses on the intricacies of every
movement, and by his design, a seemingly awkward movement strategically transitions smoothly into the
next movement, leading to a seamless final result. Hubbard Street Dancer Penny Saunders states, Most
of the movement looks simple, but what an audience member sees on stage takes time, effort and
extreme attention to detail." Duato created Arcangelo for Compaia Nacional de Danza in Madrid. This
piece, based on the marvelous Concerti Grossi by Arcangelo Corelli and ending with an aria from
Alessandro Scarlattis opera Il Primo Omicidio, presents a dance reflection of heaven and hell. World
premiere by Compaa Nacional de Danza at Teatro Real de Madrid, May 31, 2000. First performed by
Hubbard Street Dance Chicago at Harris Theater for Music and Dance in Chicago, IL, September 30, 2010.
As few as 3000
Alejandro Cerrudo, Choreography
Bohuslav Martin, Music
Matt Miller, Lighting Design
Branimira Ivanova, Costume Design
This work was Resident Choreographer Alejandro Cerrudos eighth new work for the company, this time
for a large group of dancers, making it one of his most dramatic works. As few as 3000 is set to Bohuslav
Martins Toccata e due canzone. Created for and premiered by Hubbard Street Dance Chicago in
performance with the Chicago Symphony Orchestra at Symphony Center in Chicago, IL on April 28, 2011.
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CURRENT REPERTOIRE, continued

Blanco
Alejandro Cerrudo, Choreography
Felix Mendelssohn and Charles Valentin Alkan, Music
Nicholas Phillips, Set and Lighting Design
Branimira Ivanova, Costume Design
Choreographed by Alejandro Cerrudo and featuring music by Felix Mendelssohn and Charles-Valentin
Alkan, Blanco is a stunning mix of abstract and sculptural movements created for four women. This piece
was developed through one-on-one interaction with each of the four dancers, making it very personal to
each of them. The rehearsal process was very gentle, and significant time was spent on achieving that
precision. Hubbard Street Dancer Meredith Dincolo recalls, One day we worked on very minimal
movements for an hour, and with each movement Alejandro requested that it be smaller, and smaller, and
smallerthis piece is unlike any other work in our repertoire. Created for and premiered by Hubbard
Street Dance Chicago at Jacobs Pillow Dance Festival August 25, 2010.
Casi-Casa
Mats Ek, Choreographer
Flesh Quartet, Music
Erik Berglund, Lighting Design
Katrin Brannstrom and Peder Freiij, Scenic Design
In this surreal vision of everyday life set to disco, hip-hop, swing and jazz vacuum cleaners act as
dance partners, an oven sputters smoke, and the landscape literally tilts. As the unrelated snippets of
daily life unfurl, the dancers perpetual motion becomes hypnotic. Casi-Casas 40-minute journey features
dramatic situations through subtle encounters, and duets that are eloquent in their yearning ambiguity.
Facets of the Same
Taryn Kaschock Russell, Choreographer
Django Reinhardt, The Tiger Lillies, Music
Matt Miller, Lighting Design
Rebecca Shouse, Costume Design
Taryn Kaschock Russell created this piece as an individuals journey of introspection, initiated by both
external and internal forces. I was contemplating my inability to experience how someone sees
themselves, notes Kashock Russell. It is a unique and biased set of eyes we look out from. My
inspiration for this work came from personal challenges, but my desire is to convey a more universal
theme of reflection. Created for and premiered by Hubbard Street Dance Chicago at the Edlis Neeson
Theater at the Museum of Contemporary Art Chicago on January 19, 2012.
Following the Subtle Current Upstream
Alonzo King, Choreography
Prince Credell, Assistant to the Choreographer
Zakir Hussain and Miguel Frasconi, Music
Axel Morgenthaler, Lighting Design
Robert Rosenwasser, Costume Design
Following the Subtle Current Upstream addresses the subtle currents that exist in the body as the path to
liberation. This piece is set to music by Indian tabla master Zakir Hussain, South African singer Miriam
Makeba and composer Miguel Frasconi. Tremendously popular since its creation in 2000, it has toured the
world as part of the repertoire of the Alvin Ailey American Dance Theater. Kings choreography interlinks
the dancers in dynamic, ever-changing patterns that stretch into graceful attenuation before they fluidly
transform. The title Following the Subtle Current Upstream has hundreds of levels, says King. The rush
and clamor of the exterior world is a spectacle that draws us out of our houses. It surges in an outward
direction and is dazzling, hypnotic and powerful. Created for Alvin Ailey American Dance Theater in 2000.
Company premiere by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in
Chicago, IL, May 19, 2011.

CURRENT REPERTOIRE, continued

Little mortal jump
Alejandro Cerrudo, Choreography
Various Artists, Music
Michael Korsch, Lighting Design
Alejandro Cerrudo, Set Design
Branimira Ivanova, Costume Design
Little mortal jump, Resident Choreographer Alejandro Cerrudo's 10th piece for Hubbard Street Dance
Chicago, is a bubbling blend of different styles and genres that distills into a fluid, cohesive whole. As a
dance, it fuses the technicality of movement, the theatricality of the stage and the dark humor inherent in
relationships. There is something about Little Mortal Jump that is relatable in a wonderfully timeless
way, comments Hubbard Street Dancer Alice Klock. Though it traverses both light and dark, comedy and
drama, in the end the piece is about heart. As an experience, Cerrudo aims to transport his audience to
"make them forget what they did today, and what they will do tomorrow," he says. From cubes that serve
as frames and obstructions, to diversely characterized couples, to vastly contrasting music, Little mortal
jump is layered with unexpected twists and turns. This work is a step in the evolution of Cerrudo's
choreographic style, of which he says, "I challenge myself to create more complex works and to do things
that I havent done before. With Hubbard Street I have the freedom to do that. Created for and
premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Chicago, IL,
March 15, 2012.
Malditos
Alejandro Cerrudo, Choreography
Alexandre Desplat, Patrick Doyle, Arvo Prt, David Lang, Music
Tom Visser, Lighting Design
Carlijn Petermeijer, Costume Design
Featuring musicby French composer Alexandre Desplat from the film The Beat That My Heart Skipped,
Resident Choreographer Alejandro Cerrudos Malditos was a collaborative effort between Nederlands Dans
Theater and Hubbard Street Dance Chicago. Spending half his creative process in The Hague, Netherlands
and half at Hubbard Street Dance Center in Chicago, Cerrudo drew inspiration from the dancers of both
companies to create an amalgam of intimate, constantly shifting movement that emphasizes both panic
and passion. In working with two companies, Cerrudo aimed to blend each companys respective
movement styles with the same foundation of choreography. Ultimately, the piece takes shape in different
ways. [The piece] was a real challenge, says Hubbard Street dancer Pablo Piantino. It was interesting,
trying to achieve similar movement, as well as add our own interpretation to what other dancers had
created. The literal translation meaning damn, Malditos is a work for eight dancers, connecting two
continents through the universal language of dance. Created for Hubbard Street Dance Chicago and
Nederlands Dans Theater 2 and premiered by NDT2 at Lucent Danstheater in The Hague, Netherlands in
October 2010. U.S. premiere by Hubbard Street at the John F. Kennedy Center for the Performing Arts in
Washington, DC November 12, 2010; Midwest premiere by Hubbard Street at the Harris Theater for Music
and Dance in Chicago, IL, December 2, 2010.
Never was
Alejandro Cerrudo, Choreographer
George Frideric Handel, Henry Purcell, Music
Matt Miller, Lighting Design
Branimira Ivanova, Costume Design
In his piece Never was, Resident Choreographer Alejandro Cerrudo focuses on the physicality of dance
through the intricacies of Baroque music by Handel and Purcell. Set to contrasting compositions that build
to form a cohesive duet, the dance, while not a love duet, nevertheless showcases the movement of two
dancers as they interact and coexist in a polarizing musical landscape. Created for and premiered by
Hubbard Street 2 at the Edlis Neeson Theater at the Museum of Contemporary Art Chicago in Chicago, IL
on January 19, 2012.

10

CURRENT REPERTOIRE, continued

One Thousand Pieces
Alejandro Cerrudo, Choreographer
Philip Glass, Music
Michael Korsch, Lighting Design
Thomas Mika, Costume and Scenic Design
Premiering in October of 2012, One Thousand Pieces is Alejandro Cerrudos first full-length work. Inspired
by Russian-French artist Marc Chagalls famed America Windows permanently on view at the Art
Institute of Chicago Cerrudo promises a personal interpretation of the emotions evoked by these famous
stained glass panels.
PACOPEPEPLUTO
Alejandro Cerrudo, Choreographer
Dean Martin, Music
Matt Miller, Lighting Design
Rebecca Shouse, Costume Design
A suite of strong male solos created by Resident Choreographer Alejandro Cerrudo in 2011,
PACOPEPEPLUTO is a seven-minute powerhouse piece set to music by the king of cool, Dean
Martin. Cerrudo creates three very different personalities with movements reminiscent of caricatures.
Shrouding the dancers in dim lighting and fog is Cerrudos exercise in taking the idea of humor and
creating a sense of severity. Created for and premiered by Hubbard Street Dance Chicago on June 17,
2011 as part of Hubbard Streets Inside/Out Choreographic Workshop.
Petite Mort
Jir Kylin, Choreography
Wolfgang Amadeus Mozart, Music
Joop Caboort, Lighting Design
Joke Visser, Set and Costume Design
Created especially for the Salzburg Festival on the second centenary of Mozarts death, Jir Kylins Petite
Mort uses two of Mozarts most beautiful and popular piano concertos Piano Concerto in A Major
(Adagio) and Piano Concerto in C Major (Andante). The choreography includes six men, six women and six
fencing foils. The foils often have the function of actual dance partners, and, at times, seem more unruly
and obstinate than a partner of flesh and blood. They visualize a symbolism, which is more present than a
story line. The musical quality of Kylins work is evident, but it is the nuance of movement and detail that
garners the greatest attention from the dancers. Sometimes, [performing Petite Mort] is about the most
subtle things, says Hubbard Street Dancer Kellie Epperheimer. Its very sensational. There are so many
small gestures and actions that ultimately turn out to be the most breathtaking moments. Aggression,
sexuality, energy, silence, cultivated senselessness and vulnerability all play a significant role. Created for
Nederlands Dans Theater in 1991. First performed by Hubbard Street Dance Chicago at the Shubert
Theatre, Chicago, IL, March 28 2000.
PHYSIKAL LINGUISTIKS
Victor Quijada, Choreography
Jasper Gahunia, Music
Yan Lee Chan, Lighting Design
Rebecca Shouse, Costume Design
PHYSIKAL LINGUISTIKS, the first work created for Hubbard Street Dance Chicago by 2010 Princess Grace
Awards Winner and RUBBERBANDance Group choreographer Victor Quijada, examines the overlapping
dialogues that exist between the performers, their environment, the spectator and the theatrical event.
Quijadas work utilizes a unique style of movement that is influenced by his experiences in classical,
contemporary and urban cultures. In a parallel process, collaborating composer Jasper Gahunia has
created a score that is also influenced by classical and urban tendencies. Victor has introduced new
movement vocabulary to Hubbard Streets classically trained dancers and has worked with them to
discover the best methods for approaching it. Hubbard Street Executive Director Jason Palmquist
comments, Our dancers usually work on movements based on two points of balance, but in Quijadas
work, there are usually three. They might be two feet and a hand, or two hands and a foot. Its very
11

CURRENT REPERTOIRE, continued

different from what they are used to. Premiered by Hubbard Street Dance Chicago at the Harris Theater
for Music and Dance September 30, 2010. Technical support provided by the Krannert Center, Champaign
IL.
Quintett
William Forsythe in collaboration with Dana Caspersen, Stephen Galloway, Jacopo Godani, Thomas
McManus and Jone San Martin, Choreography
Gavin Bryars, Music
Stephen Galloway, Costume Design
William Forsythe, Lighting Design
Thomas McManus, Repetiteur
A great honor for the Company, Hubbard Street Dance Chicago is the first American group to perform
William Forsythes famed Quintett. Set by Forsythe repetiteur Thomas McManus, this passionately humane
work for five dancers was created in 1993 soon after the death of Forsythes wife and represents an
intensely personal experience where dancers set into motion a seamless flow of duets, solos and trios in
counterpoint to the pulse of leading U.K. composer Gavin Bryar's haunting original composition, "Jesus
Blood Never Failed Me Yet." With costumes by original cast member Stephen Galloway, Forsythes work
embraces the technical aspects of classical dance with an eye to deconstruction and re-imagining of
movement. Created for and premiered by Ballett Frankfurt on October 9, 1993 at the Opernhaus,
Frankfurt am Main. First performed in the U.S. by Hubbard Street Dance Chicago at Harris Theater for
Music and Dance, May 31, 2012.
Recall
Robyn Mineko Williams, Choreographer
Chromatics, Chris Menth, mixed by Robyn Mineko Williams, Music
Matt Miller, Lighting Design
Rebecca Shouse, Costume Design
In the debut of her original piece Recall, Hubbard Street Dancer Robyn Mineko Williams blends the pulsing
beats of The Chromatics and Chris Menth. Describing one of her inspirations as "the experience of
memory," Williams crafts a dynamic piece in which dancers play with the lenses of different points of view
and how these can both distort and clarify ones perceptions. Two people living through the same
experience can walk away with completely different impressions of a single eventa concept Williams
finds particularly intriguing. Her inspiration behind this work is the idea of "the experience of memory,"
The process of danc(e)volve feels to Williams like being a kid in a candy store, working with the best
tools I could ask for. Created for and premiered by Hubbard Street Dance Chicago at the Edlis Neeson
Theater at the Museum of Contemporary Art Chicago on January 19, 2012.
SCARLATTI
Twyla Tharp, Choreography
Claire Bataille, Assistant to the Choreographer
Domenico Scarlatti, Music
Todd Clark, Lighting Design
Norma Kamali, Costume Design
Twyla Tharp has choreographed more than 135 dances and five Hollywood movies, directed and
choreographed four Broadway shows and four television specials, and written three books. In 1990,
together with Hubbard Street Dance Chicago, she embarked on The Tharp Project, working to add her
repertoire to the companys roster. Through the years, Hubbard Street has performed an impressive
number of her works, including The Fugue and Sues Leg in 1990, The Golden Section in 1991, Nine
Sinatra Songs in 1992, the World Premiere of I Remember Clifford, specially commissioned for the
company in 1995, Fait Accompli also in 1995 and Bakers Dozen in 2007. In 2011, Hubbard Street staged
the world premiere of SCARLATTI, the first work created by Tharp for Hubbard Street in 15 years. Set to
seven sonatas and one fugue by Domenico Scarlatti, SCARLATTI features costumes by Norma Kamali and
lighting design by Todd Clark. Created for and premiered by Hubbard Street Dance Chicago at the Harris
Theater for Music and Dance in Chicago, IL, October 13, 2011.

12

CURRENT REPERTOIRE, continued

THREE TO MAX
Ohad Naharin, Choreography
Various Artists, Music
Rakefet Levy, Costume Design
Avi Yona Bueno (Bambi), Lighting Design
Laurel Shoemaker, Lighting Consultant
Yoshifumi Inao, Repetiteur
THREE TO MAX, a new creation for Hubbard Street Dance Chicago in 2011, is a collage of past works
created by Naharin over the past decade. Working with Naharin is always a rewarding experience for
Hubbard Street Dancers, who are able to experience the synergy of his "Gaga" method of movement,
which involves covering the studio mirrors and letting dancers observe and analyze many things at once.
We are aware of the connection between effort and pleasure, Naharin explains. This piece is the fifth
work of Ohad's that I have been fortunate enough to dance at Hubbard Street, says Hubbard Street
Dancer Robyn Mineko Williams. Each experience has proven to be an incredibly invigorating one, both
physically and mentally. I find that Ohad's work requires an open and alert mind, as well as a heightened
sense of intention and presence, beautiful challenges for an artist to embrace. Created for and premiered
by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance in Chicago, IL, March 17,
2011.
Too Beaucoup
Sharon Eyal and Ga Behar, Choreography
Ori Lichtik, Music
Ori Lichtik, Sharon Eyal and Ga Behar, Soundtrack Design
Sharon Eyal and Ga Behar, Costume Design
Avi Yona Bueno (Bambi), Lighting Design
Too Beaucoup is a full-Company work by Israeli choreographer Sharon Eyal and her co-creator Ga Behar.
Too Beaucoup, meaning too too much, aims to manipulate and replicate precise, robotic movement,
suggesting a 3-D video. Because of this 3-D aesthetic, music, costumes and lighting are just as important
as the movement. An amalgam of artistic genres accompanies the choreography, with costumes by Ga
Behar, lighting by Avi Yona Bueno and a soundtrack designed by Israeli musician and DJ Ori Lichtik
including music by Gang of Four, Vicious Pink, Depeche Mode, Ivan Pavlov (COH), Leonard Cohen, Cole
Porter, Vice, Art Blakey & The Jazz Messengers and Oren Barzilay. Hubbard Street is the only American
company to present Eyals critically praised work, confirming the Companys role as Chicagos dance
ambassador in Chicago and around the world. Created for and premiered by Hubbard Street Dance
Chicago at the Harris Theater for Music and Dance in Chicago, IL, March 17, 2011.
thrice
Terence Marling, Choreographer
Terence Marling, Antonio Vivaldi, Music
Matt Miller, Lighting Design
Rebecca Shouse, Costume Design
The choreography of Hubbard Street Artistic Associate and choreographer Terence Marling's newest piece,
thrice, is created from choreography that originally appeared as twice (once), performed during the
Chicago Symphony Orchestras MusicNOW series in December 2011. Set to Anna Clyne's Within Her Arms,
twice (once) marries the abstraction of dance to the precision of mathematical patterns. Marling retains
the same choreographic timeline and structure as twice (once), but thrice has been altered musically,
spatially and scenically, resulting in an entirely new perspective and meaning for the same dance. Created
for and premiered by Hubbard Street Dance Chicago at the Edlis Neeson Theater at the Museum of
Contemporary Art Chicago in Chicago, IL on January 19, 2012.

13

CURRENT REPERTOIRE, continued

Untitled Landscape
Jonathan Fredrickson, Choreographer
Henryk Gorecki, Music
Matt Miller, Lighting Design
Nathan Rohrer, Costume Design
"Man is physically as well as metaphysically a thing of shreds and patches, borrowed unequally from good
and bad ancestors, and a misfit from the start." Ralph Waldo Emerson. Created for and premiered by
Hubbard Street Dance Chicago at the Edlis Neeson Theater at the Museum of Contemporary Art Chicago
on January 19, 2012.
Untouched
Aszure Barton, Choreography*
Jonathan Alsberry, Assistant to the Choreographer
Njo Kong Kie, Curtis Macdonald, Ljova, Music
Nicole Pearce, Lighting Design
Fritz Masten, Costume Design
*Choreography was created in collaboration with the dancers of Hubbard Street
Using music by saxophonist and composer Curtis Macdonald, pianist and musical director Njo Kong Kie,
and Russian-born violist Lev "Ljova" Zhurbin, Barton collaborated with each dancer independently and,
based on these personal interactions, created environments on stage in which each performer is an
individual and all are united by a shared language. The choreography was developed prior to selecting
music, so the music is completely in service of the rhythm of the movements created by Barton and the
dancers. This process led to the dance being very personal to each Company member and very specific to
Hubbard Street, giving dancers the feeling that If we werent there, this piece wouldnt be, as dancer
Kevin Shannon explains. Barton counted the rhythm for Untouched in a uniquely disjointed fashion,
allowing dancers to develop new styles of movement. With Aszure its not about how many steps you do,
its what you do with the steps that makes the piece, states Shannon. Created for and premiered by
Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, June 3, 2010.
A New Work
Alonzo King, Choreographer

Developed through a unique collaborative experience, Hubbard Street Dance Chicago and Alonzo King LINES Ballet will
jointly premiere a new work in March 2013.

HISTORICAL REPERTOIRE
TITLE

YEAR

CHOREOGRAPHER

MUSIC

Quintett*

2012

William Forsythe

Galvin Bryars

Little mortal jump*

2012

Alejandro Cerrudo

Beirut, Andrew Bird, Alexandre Desplat,

Philip Glass Hans Otte and Max Richter

thrice*

2012

Terence Marling

Vivaldi

SCARLATTI*

2011

Twyla Tharp

Domenico Scarlatti

Following the Subtle Current Upstream*2011

Alonzo King

Zakir Hussain, Miriam Makeba, Miguel

Frasconi

As few as 3000*

2011

Alejandro Cerrudo

Bohuslav Martin

THREE TO MAX*

2011

Ohad Naharin

Johann Sebastian Bach, Brian Eno,

Maxim Warrat, Rayon, Seefeel, The
Beach Boys

Too Beaucoup*

2011

Sharon Eyal

Gang of Four, Vicious Pink, Depeche

Mode, Ivan Pavlov (COH), Leonard
Cohen, Cole Porter, Vice, Bobby
Timmons and Oren Barzilay
14

HISTORICAL REPERTOIRE, continued

Malditos*

2010

Alejandro Cerrudo

Alexandre Desplat, Patrick Doyle, Arvo

Part, David Lang

PHYSIKAL LINGUISTIKS*

2010

Victor Quijada

Jasper Gahunia

Arcangelo*

2010

Nacho Duato

Arcangelo Corelli, Alessandro Scarlatti

Untouched*

2010

Aszure Barton

Njo Kong Kie, Curtis Macdonald, Liova

Blanco*

2010

Alejandro Cerrudo

Felix Mendelssohn, Charles Valentin

Alkan

Deep Down Dos

2010

Alejandro Cerrudo

Mason Bates

2752 *

2010

Jir Kylin

Dirk Haubirch

Bitter Suite

2009

Jorma Elo

Felix Mendelssohn, Claudio Monteverdi

Slipstream

2009

Jim Vincent

Benjamin Britten

Off Screen

2008

Alejandro Cerrudo

Johnny Greenwood, Benoit Charest,

Alexandre Desplat, Jon Brion, Andrew
Bird, Paganini, Marcelo Zarvos &
Peter Vronsky, James Newton
Howard, Javier Navarrete

Walking Mad

2008

Johan Inger

Maurice Ravel

The Constant Shift of Pulse

2008

Doug Varone

John Adams

Extremely Close

2008

Alejandro Cerrudo

Philip Glass, Dustin OHalloran

The Set

2008

Lucas Crandall

J.S. Bach

B-Sides (12 Mix)

2007

Brian Enos

Hybrid

Palladio

2007

Jim Vincent

Karl Jenkins

From All Sides

2007

Jorma Elo

Mark-Anthony Turnage

Cryptoglyph

2007

Lar Lubovitch

Meredith Monk

Lickety-Split

2006

Alejandro Cerrudo

Devendra Banhart

Bardo

2006

Toru Shimazaki

Dead Can Dance

the Manifests

2006

Lauri Stallings

Various

Float

2005

Julian Barnett

Ovar Smarson/Gunnar Tynes

Strokes Through The Tail

2005

Marguerite Donlon

Wolfgang Amadeus Mozart

Second Memory

2005

Alex Ketley

Leslie Stuck

Uniformity

2005

Jim Vincent

Various

Gnawa

2005

Nacho Duato

Various

Enemy in the Figure

2005

William Forsythe

Thom Willems

Gimme

2004

Lucas Crandall

Bl Bergens Borduner

Tabula Rasa

2004

Ohad Naharin

Arvo Prt

Love Stories

2004

Lar Lubovitch

Kurt Elling

SF/LB

2004

Daniel Ezralow

Leonard Bernstein

Rooster
Kiss

2004
2003

Christopher Bruce
Susan Marshall

The Rolling Stones

Arvo Prt

Diphthong

2003

Brian Enos

Zap Mama
15

HISTORICAL REPERTOIRE, continued

Full Grown Man

2003

Trey McIntyre

Beck

No More Play

2003

Jir Kylin

Anton Webern

Cor Perdut

2003

Nacho Duato

Maria del Mar Bonet

Atelier

2003

Lucas Crandall

Various

Queens/Black Milk

2002

Ohad Naharin

Arvo Prt, Paul Smadbeck

Reverse/Deconstruct

2002

Marguerite Donlon

Claas Willeke

counter/part

2002

Jim Vincent

Johann Sebastian Bach

Flatline

2001

Harrison McEldowney

Various

Passomezzo

2001

Ohad Naharin

Unknown

Without Walls

2001

Ron De Jesus

Jerome Begin

Minus 16

2000

Ohad Naharin

Various

Split

2000

Trey McIntyre

Art Blakely

The Fate of James Harrison

2000

Harrison McEldowney

Ludwig van Beethoven, Edith Piaf

Petite Mort*

2000

Jir Kylin

Wolfgang Amadeus Mozart

Call the Whole Thing Off

1999

Harrison McEldowney

Gershwin, Cahn

Group Therapy

1999

Harrsion McEldowney

Various

To Have and To Hold

1999

Kevin ODay

Guy Klucevscek

Rassemblement (The Gathering)

1999

Nacho Duato

Toto Bissainthe

Blue Grass

1998

Susan Hadley

Mark OConnor

Sechs Tnze (Six Dances)

1998

Jir Kylin

Wolfgang Amadeus Mozart

Link

1998

Mario Alberto Zambrano

Philip Glass, Foday Musa Suso

Jardi Tancat (Enclosed Garden)

1997

Nacho Duato

Maria del Mar Bonet

Na Floresta (The Forest)

1997

Nacho Duato

Heitor Villa-Lobos, Wagner Tiso

Lady Lost Found

1997

Daniel Ezralow

Percy Grainger

HELLBLONDEGROOVE

1996

Kevin ODay

John King

Fait Accompli

1995

Twyla Tharp

David Van Tiegham

I Remember Clifford

1995

Twyla Tharp

Ornette Coleman, Benny Golson

Charles Mingus, Roland Kirk,
Lee Morgan, Oliver Nelson

Quartet for IV
1995
(and sometimes one, two or three)

Kevin ODay

Kronos Quartet

Heroes

1994

James Kudelka

John Adams

Perpetuum Mobile (Perpetual Motion)

1994

Mauricio Wainrot

Penguin Caf Orchestra

In Praise Of Shadows

1993

Daniel Ezralow

Thom Willems

The Forging Ground

1993

Margo Sappington

Jon Hassell, Caetano Veloso,

Olodum Drums, Gondwanaland

Nine Sinatra Songs

1992

Twyla Tharp

Frank Sinatra

The Golden Section

1991

Twyla Tharp

David Byrne

Percussion Four

1991

Bob Fosse

Gordon Lowry Harrell

16

HISTORICAL REPERTOIRE, continued

Bakers Dozen

1991

Twyla Tharp

Willie The Lion Smith

Sues Leg

1990

Twyla Tharp

Thomas Fats Waller

The Fugue

1990

Twyla Tharp

Michel Colombier

READ MY HIPS

1990

Daniel Ezralow

Ralph Vaughan Williams

Mirage

1990

Margo Sappington

John McLaughlin

SHAKTI

1990

Ron De Jesus

Ravi Shankar

SUPER STRAIGHT
is coming down

1989

Daniel Ezralow

Thom Willems

Champagne

1989

Mary Ward

Johann Sebastian Bach

Step Out Of Love

1988

Margo Sappington

Steve Forsyth

The Kitchen Table

1988

Bill Cratty

Baby Dodds and Mexican Marimba

And Now This

1988

Margo Sappington

Leonard Bernstein

Rose From the Blues

Georgia
Lenny
Mae

1987
Lou Conte
Rick Hilsabeck
Richard Levi

Willie Nelson
Stevie Ray Vaughan
Kitty Lester

The Envelope

1987

David Parsons

Gioacchino Rossini

Decisions, Decisions, Decisions

1987

Richard Levi

Steps Ahead

Case Closed

1987

Lynne Taylor-Corbett

Jan Hammer

Cobras in the Moonlight

1986

Margo Sappington

Astor Piazzolla

First Turn

1985

Rick Hilsabeck

Its Your Move

1985

Claire Bataille

Jean-Luc Ponty

Appearances

1984

Lynne Taylor-Corbett

Pat Metheny, Lyle Mays

Bonnie & Clyde

1984

John McFall

George Gershwin

Full Moon

1983

Claire Bataille

Aaron Copland

Go! Said Max

1983

Lynne Taylor-Corbett

Robert Muczynski

Tiempo

1983

John McFall

Igor Stravinsky

Spy

1982

Lynne Taylor-Corbett

Judith Lander

Diary

1982

Lynne Taylor-Corbett

Judith Lander

Line Drive

1982

Lou Conte and Claire Bataille

Pipo, Mingo Lewis

The Entertainers

1982

David Anderson

Al Kooper, Shuggie Otis

Rodin Impressions

1981

Lou Conte

Sergei Rachmaninoff

Three Part Invention

1981

Claire Bataille

Emerson, Lake and Palmer,

Jean-Luc Ponty

At the Rosebud

1980

Lou Conte

Scott Joplin, Billy Joel,

Artie Matthews

Hurry Up and Wait

1980

Lou Conte and Claire Bataille

Les Hooper

Gershwin Dances

1980

Lou Conte

George and Ira Gershwin

New Country

1979

Lou Conte

Samuel Barber, Jean-Luc Ponty

Odyssey

1979

Claire Bataille

Voyage

Party Music

1979

Lou Conte

Galt MacDermot

17

HISTORICAL REPERTOIRE, continued

The 40s

1978

Lou Conte

Sy Oliver, Ralph Burns

Pure Imagination

1978

Lou Conte

Bob James

Javanaise

1978

Lou Conte

Claude Bolling

Irlandaise

1978

Lou Conte

Claude Bolling

Bill Robinson Tribute

1978

Lou Conte

Fats Waller, Alex Hill

Chickenscratch

1978

Lou Conte

Les Hooper

*Denotes Current Repertoire

18

PRESS QUOTES
US PUBLICATIONS
Take a deep breath, because Hubbard Street Dance Chicago is going to take your breath away. The
Washington Post
Hubbard Street Dance Chicago ought to bottle itself as a cure for the ills of the era. The New York
Times
One of Americas foremost modern-dance repertory companies. New York Times
Technically eclectic group of high-energy dancersgusto dominated the program of passionate works.
The New York Times
If variety is the spice of life, then Hubbard Street Dance Chicago is one of the spiciestnot to mention
liveliestcompanies around. The New York Post
Its a fun company to watchwhether youre a dance aficionado or neophyte. The New York Sun
No gimmicks needed. The Millerton News, New York
The company is in superb formIf you like visceral, rhythmically based dance that is impeccably
performed, this is your company. The Boston Globe
Americans can be proud that one of the finest repertory dance companies in the world hails from
Chicagothey prove that contemporary choreography can be joyous, readily understandable and
thoroughly engaging. The Boston Herald
You wont find a better contemporary dance company than Hubbard Street Dance Chicago.
Philadelphia City Paper
Hubbard Street's dancers are a marvel of vivacious characterizations full of individuality. Pittsburgh
Tribune-Review
Hubbard Street Dance Chicago can dance circles around nearly any dance company you might
nameThese dancers shine in everything from multiple pirouettes to the most slithery and explosive
contemporary moves. Philadelphia Inquirer
A perfect storm of movement, music and choreography. Los Angeles Times
Chicago is luckyto call the glorious movers and shakers of Hubbard Street its own. Los Angeles
Times
Hubbard Street confirmed its reputation as a major modern dance repertory ensemble [with] dancers of
spectacular versatilitydancers who have taken Hubbard Street on an amazing artistic journey that only
founder-director Lou Conte could have foreseen The Los Angeles Times
A national treasure. San Francisco Chronicle
Everyone I know who has seen Hubbard Street Dance Chicago is bent and determined to see them again.
Those who havent seen them want to, desperately. San Francisco Chronicle
a rare glimpse of top flight, even visionary, modern dance. The Miami Herald

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a sleek, intense style of contemporary dance seldom seen here. The Miami Herald
all eyes are on Hubbard Street. And well they should be. The company and its leadership have, season
after season, demonstrated an unparalleled balance of versatility, virtuosity and imagination, all presented
in an appealing package of audience-friendliness. NewCity Chicago
The dancers look superb, as sleek as ever, magicians who make their work sail by with seeming ease
and genuine confidence. The Chicago Tribune
Intriguing, tantalizinglush and gorgeous The Chicago Tribune
One extended tour de force. The Chicago Tribune
Hubbard Street shows why its in high demand. The company is dancing at the very peak of its powers.
Chicago Sun-Times
Far more than bravura technicians, [Hubbard Street] dancers are fiercely individualistic artists who make
themselves known even in work that requires the most daunting, precision-tooled ensemble esprit.
Chicago Sun-Times
One thing must be made abundantly clear: The Hubbard Street dancers are simply phenomenal.
Chicago Sun-Times
The company dances everything it touches with a sublime blend of emotional intensity and technical
brilliance. Chicago Sun-Times
Hubbard Street Dance Chicago has never danced more brilliantly than it is doing now at its Harris
Theater summer engagement. Its 16 performers, though intensely individualistic, often seem to breathe
and move as one. And they have the ability to make the audience breathe with them. They are wholly
remarkable. Chicago Sun-Times
Hubbard Street Dance Chicago brings down the house. Time Out Chicago
a visual feast popping with extraordinary athleticism as dancers convey a vast spectrum of emotion
with bounding, kinetic grace. Windy City Times
Anyone who harbors even the slightest doubt that dance is an art form with near magical properties
simply hasn't been to a performance of Hubbard Street Dance Chicago. Chicago Sun-Times
"These amazing artists can do anything and everything, and beyond their extraordinary technique they
are just superb mood-spinners." - Chicago Sun-Times
Expect [a] potluckthe cooks are excellent. Chicago Reader
Defying gravity with grace and high voltageHubbard Street Dance Chicago is a triumpha definite must
see. ABC 7/WLS-TV, Chicago
"This isn't ballet. It's like a modern art museum with legs and surprisingly ripped abs." Thrillist
Chicago
Hubbard Street not only offered a ground-breaking program, they created a tectonic plate shift in the
floor of Chicago dance. Rogue Ballerina
The critically-acclaimed troupe demonstratively proved why they are the best. Rogue Ballerina
The greatest ambassadors for the city of Chicago. -- Mayor Rahm Emanuel quoted in Chicago SunTimes
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PRESS QUOTES, continued

Hubbard Street Dance Chicago always surprises with their repertoire. Each of their performances is so
different from the one prior, unified by the unwavering talent of the HSDC dancers. The company
stretches the bounds of contemporary dance--which are expansive to begin with--consistently
transforming movement in ways that can reach even the most reluctant performance-goer. Their
performances present such a variety that there's sure to be something that impacts each segment of their
audience. Gapers Block
One of the most important modern-dance repertory companies in the world Milwaukee Journal
One of the world's best and most creative modern dance troupes. Wisconsin State Journal
Technical polish, versatility, ensemble power all that is unique about this repertory company The
Oregonian

INTERNATIONAL PUBLICATIONS
A show that defines itself through its performers prodigious physical skills, hard work and sheer
talentone that reveals the unwritten Arts Festival avowal to bring the very best of the worlds artistic
practitioners to Galway. Galway Independent, Galway, Ireland
This is how they fly in Chicago. Cologne Express, Cologne, Germany
Seeing Hubbard Street Dance Chicago was like dying and going to dance heaven. The dancers are lean,
mean dance machines. The Gazette, Montreal, Canada
Entertainment on the highest level...run for a ticket. Suddeutsche Zeitung, Munich, Germany
The troupe triumphed in its imaginative use of pop dance, ballet, acrobatics, slinky shifts, double takes,
phrasing of movement and lots of pizzazzIt was a rare treat to have such a diverse repertoire performed
by a finely-honed world-class team of dancers. The Straits Times, Singapore
There is always something marvelous about watching tremendous athletics, bodies zapping about,
rippling with muscle and tone, when all this exercise reveals them not as clones but as individuals of
attractive personalityHubbard Streets dancers, despite glistening with sweat by the end, looked
eminently capable of doing it all over again. The Telegraph, London, England

REPERTOIRE-SPECIFIC QUOTES
2752 Jir Kylin
a deep, skittish, animated duet of exotic movement.... Chicago Tribune
With Jiri Kylins 27'52", the program comes to a mysterious, breathtaking close.The six dancers,
especially Ana Lopez and (Alejandro) Cerrudo, do a masterful job with Kylins clipped choreography.
SeeChicagoDance.com

Arcangelo by Nacho Duato

.how breathtaking! DanceMagazine.com
Set to baroque music, "Arcangelo," Nacho Duato's meditation on heaven and hell, contains gorgeous
dancing Chicago Sun-Times
both gorgeously classical and pertly idiosyncratic. Chicago Tribune
Under a cornered cutout of a golden wall, on top of silvery mounds that dot the stage, the couples
luxuriate, glow and entangle. Chicago Tribune
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PRESS QUOTES, continued

As few as 3000 by Alejandro Cerrudo, in performance with the Chicago Symphony Orchestra
terrifically inventive piece filled with his trademark playful humor; nonstop energy and quirky
contemporary riffs on classical ballet. Chicago Tribune
....showed Hubbard Street under artistic director Glenn Edgerton to be in top form. Chicago SunTimes
...contains images and ensemble movement Cerrudos never shown before, new heights both of
complexity and accessibility. Time Out Chicago

Blanco by Alejandro Cerrudo

the movements seem gentle and organic, with limbs gliding like silk. Gapers Block
Alejandro Cerrudo's Blanco leaves the viewer with a calm sense of satisfaction. Gapers Block
Blanco is a compelling, finely detailed etude for four women Chicago Tribune
mesmerizing. Chicago Sun-Times

Deep Down Dos by Alejandro Cerrudo

Blanco and Deep Down Dos, two hypnotic, beautifully danced works by the company's gifted resident
choreographer, Alejandro Cerrudo. Chicago Sun-Times
Cerrudo's Deep Down Dostakes the audience into a deep cavern, with a sci-fi flavor. Gapers Block
a bit like An American in Paris meets The Matrix. The piece has the feel of an intense film score, with
hints of Gershwin-esque playfulness. The choreography creates an impression of weightlessness, with
dancers moving, at times, as though floating in space. Gapers Block
A fascinating look at various states of attachment and detachment Chicago Sun-Times
terrifically inventive piece filled with his trademark playful humor; nonstop energy and quirky
contemporary riffs on classical ballet. Chicago Tribune
....showed Hubbard Street under artistic director Glenn Edgerton to be in top form. Chicago SunTimes
...contains images and ensemble movement Cerrudos never shown before, new heights both of
complexity and accessibility. Time Out Chicago

Following the Subtle Current Upstream by Alonzo King

Alonzo Kings hypnotic work from 2000 goes on a fast and furious journey, but its one ingeniously
crafted to merge lyricism, tension, harmony and drama into one spell-binding whole. Chicago Tribune

Little mortal jump by Alejandro Cerrudo

Throughout approximately 10 sections, Cerrudo builds a fantastic abstracted realm in which other
magical things worth gasping about happen. Independent (indyweek.com)
technically rich and emotionally gripping. Chicago Tribune

Malditos by Alejandro Cerrudo

Its quality and novelty prove again that Hubbard Street Dance Chicagos resident choreographer is
inventive as well as prolific. Chicago Tribune

Quintett by William Forsythe

We pass through regret, longing, anger, all expressed in exquisite port-de-bras, snapping pirouettes,
ferocious battements and lunges and lifts that invert suddenly like a turned hourglass. The Five Points
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PRESS QUOTES, continued

Quintett is all about Forsythe resolving the fallibility and power of the past with the fact of the present,
and Hubbard Streets dancers bring the right objectivist approach to the movement. Independent

THREE TO MAX by Ohad Naharin

Naharins gift for gesture, for distortion, for using repetition, accrual and change and for deploying a
single dancer, a pair, a trio, five couples, or the entire ensemble might be the stuff of advanced
physics. Or it might be pure instinct. Or just genius. Chicago Sun-Times
THREE TO MAXheld a packed house at the Harris Theater for Music and Dance in rapt attention for more
than 50 minutes. Chicago Sun-Times
Both THREE TO MAX and Too Beaucoup leave the audience feeling pleasantly full. L.A. Splash

Too Beaucoup by Sharon Eyal

Eyal has her own gripping sense of the obsessive, near-disembodied drive of modern life and a similar
flair for deploying a group. And through the use of vivid patterns, a propulsive drive and zombielike,
undead movement, she has the dancers evoking the strange sensuality of compulsive automatons.
Chicago Sun-Times
What a stageful of wow. The Five Points

Untouched by Aszure Barton

Untouched, the extraordinarily eloquent, deeply emotional, theatrically sophisticated world premiere
created for the company by Aszure Barton, plays marvelously on the dancers' remarkable gifts and their
special forms of divine fire. Chicago Sun-Times
The striking duet that ends the piece is exquisitely charged The Boston Globe

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MEDIA OPPORTUNITIES
For media and marketing materials (photos, etc.) contact:
Zachary Whittenburg
Manager of Communication
Phone: 312-850-9744 ext. 136
Fax: 312-455-8240
Email: zwhittenburg@hubbardstreetdance.com
Interviews
Artistic Director Glenn Edgerton (by phone or email in advance; in person when in town after 10 a.m.;
not during class or rehearsal)artistic choices, repertoire, dancers, future artistic direction, career
transition, management style
Executive Director Jason Palmquist (by phone or email)company history, administration, arts
management
Rehearsal Director Terence Marlingrepertoire, dancers, artistic choices
Director, HS2 and Artistic Associate Taryn Kaschock Russellrepertoire, dancers, artistic choices
Dancers (by phone or email in advance or in person)a company member might be native to your area
and make a good subject for a profile, or any can talk about learning/rehearsing/performing repertoire
Choreographers (by phone, email or in person, subject to availability)repertoire created for or set on
the company
Production Manager technical aspects, coordinating the tour
LCDS Director Claire Bataille (by phone, email or in person) Lou Conte Dance Studio history, current
programs, etc.
Education & Community Programs Director Kathryn Humphries (by phone, email or in person) Education & Community Outreach, Youth Dance Programs
Topics
Repertoire on programpremieres, pieces in context of company history
Ongoing company relationships with specific choreographers
Profile of a dancer or staff member
The process of putting together a national tour
Tools Hubbard Street can provide
Images from active repertoire (300-dpi jpegs)
Black and white headshots of dancers and artistic/executive staff (300-dpi jpegs)
DVD of repertoire for internal use only, not for broadcast electronically
Biographies of dancers, executive staff and choreographers
Historical data on company
TV/video opportunities
During the last 15 minutes of company class on stage (set up 15 minutes prior, shot from house only)
1015 minutes of performance, shot from aisle in back of house without flash (must arrive 10-15
minutes prior to curtain)
Photo opportunities
One or several pieces during performance, shot from back of house without flash and without motor drive
(must arrive 1015 minutes prior to curtain)
NOTE: All camera crews at either class or performance must be accompanied by a staff member
representing the presenter/venue to ensure they remain in the proper location and are not disruptive to
audience members.

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HUBBARD STREET DANCE CHICAGO RESIDENCY ACTIVITIES

Hubbard Street Dance Chicago is committed to the education of new audiences at home and on tour. Hubbard Street
tailors its educational programs to fit a communitys particular needs, thereby reaching all levels of dance
sophistication and audience interest, whether the organization is part of a university, major metropolitan area or rural
community. Hubbard Street is particularly interested in integrating presenting organizations into their larger
community and building relationships on the local and regional level. Please contact Hubbard Street Touring
Coordinator Marisa Santiago at 312-850-9744 x135 or msantiago@hubbardstreetdance.com to discuss logistical
details or for more information regarding Hubbard Streets Residency Activities.
IN THE STUDIO


Master Classes - ballet, improvisation, partnering


Workshops - based on Hubbard Street repertoire, improvisation, composition, contact improvisation,
partnering


Choreographic Competition - Each year through its choreographic competition Hubbard Street selects three
choreographers to create a new work for Hubbard Street 2. Selected choreographers participate in a two-week
residency to create an original work, which can be created on site in an arts magnet school or university
dance program. Local dancers would have the opportunity to learn and perform the work, which would also
enter HS2s repertoire. This commissioning and residency opportunity is available in conjunction with Hubbard
Street or HS2 performances.
ON STAGE


Open Classes and Repertory Rehearsals offered to students/participants in master classes or for
audience development


Dance Informances - Hubbard Streets lecture-demonstration format


Pre- and post-performance discussions with dancers and artistic staff
IN THE COMMUNITY/WITH SCHOOL PARTNERS


Discover Dance
Family Workshops - For parents and their children ages 3-8. Limited to 20
families/workshop. Jump. Spin. Slide. Create together! Get your family ready to move and have fun together
at this creative workshop that allows parents and children to come together and experience dance. Create a
new family dance all your own and see inside the best contemporary dance has to offer.


Creative Connections
- For ages 8 and over, limited to 30 participants per workshop. In this 2-3 hour
workshop participants will explore the creative minds behind one Hubbard Street work and experience the
choreographic process as they create their own interpretation of the work. Tech and space requirements: TV
and VCR/DVD, sound system compatible with iPod, studio C (30 x 50) size space or larger, free of
obstructions. For adults, chairs that can be moved out of the way when video viewing is complete.


Professional Development Workshops for school partners. Since 1997 more than 1000 teachers have
participated in Hubbard Street s fun and energetic workshops, experiencing the power that the creative
process of movement holds for developing students potential. Guiding you through the process of creating
truly meaningful arts learning experiences for your students, each workshop focuses on the vocabulary,
structure and processes of dance and how each of these interacts with other curricula. With more than 15
years experience in the field, Hubbard Street also offers workshops for schools, PTOs and arts planning teams
to assist in whole-school arts education efforts and strategic planning using Hubbard Streets nationally
recognized models. Schools may select from the following workshop topics. Each workshop is 2-4 hours long,
for up to 40 participants.
Performance as Curriculum
- This workshop provides teachers with activities and tools to continue
the performance experience in the classroom. In each workshop we explore the creative mindset
behind one Hubbard Street work, experiencing the choreographic process. Through this activity,
teachers learn to facilitate their students' creation of their own interpretation of the work. The
workshop connects inferencing skills and the parallels to the creative writing process, as well as
appropriate movement vocabulary and processes.
Creative Literacy
An introductory workshop linking the creative processes of choreography and
reading/writing to improve students figurative language, inferencing and transfer skills.
The Science of Dance
Integrate the processes of science with the creative potential of
movement.
Get those student bodies moving!
learn to use movement to ease transitions and assist with
classroom management.


Opportunities to engage the larger academic, civic or corporate community via the Hubbard Street
collaborative process panel discussions, drawings, models, etc. available on the topics of Dance and
Architecture, Dance and Design (costumes/textiles, lighting, stagecraft), Creative Process


Arts Administration Seminars led by Hubbard Street senior administrative staff; Hubbard Street Teaching
Artists are also available to speak with Dance and Education students/majors about the career path for a
dance teaching artist


Technical Production Lectures and Workshops - Stage management, lighting and sound, costume
maintenance, etc.
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