At the start, dancers lean toward each other, resembling a rugby scrum or a tug of war. Although they risk toppling over, the Hubbard Street performers maintain their balance. “LubDub” begins in stability but shifts dramatically. This performance forms the second half of Hubbard Street Dance Chicago’s season finale, held at the Harris Theater for Music and Dance through Sunday.
Choreographed by Aszure Barton during her three-year residency at Hubbard Street, “LubDub” is a highlight of this partnership. While this world premiere could mark the end of a successful collaboration, the arrangements are open-ended. Barton may extend her stay in Chicago, welcomed by the acclaim she receives.
The full-company performance, lasting nearly thirty minutes, takes the audience on a journey within the “LubDub’s” titular organ. The term “lub-dub” describes the heart valve sounds, heard through a stethoscope, as blood moves through its chambers. Viewers might interpret the dancers as red blood cells navigating the body. Moving along the stage, they depict a not-quite-autonomous path, combining quaking and sashaying movements.
The performance could symbolize the body’s energized pulse driving rhythm throughout the piece. It opens with a dark, cinematic intro leading to dynamic percussion and sparse strings, courtesy of artists Jlin and Kronos Quartet’s “Maji.” Jlin, whose real name is Jerrilynn Patton from Gary, plays a significant role in “LubDub,” supplemented by Kara-Lis Coverdale and Susanne Lundeng.
Distinctly styled, Barton makes her mark through aesthetics akin to “Busk,” a piece added to Hubbard Street’s repertoire in 2021. The specifics include dimly lit designs, maroon attire with pleated skirts, crafted by Barton and Jenah Hensel, and an array of unexpected movements. The choreography maintains a balance without indulging in sentimentality.
If “LubDub” is the main course, the evening’s offerings begin with a Bob Fosse appetizer. Opening with Fosse and Gwen Verdon’s choreography, Hubbard Street strengthens ties with the Verdon Fosse Legacy, being the sole concert dance company in this association. Thursday’s performance saw Alexandria Best flanked by Dominick Brown and Aaron Choate in the “Sweet Gwen Suite.” Shota Miyoshi also delivered a standout solo in “Percussion IV,” displaying his jazz dance background.
Miyoshi’s performance in “Percussion IV” underscores remarkable technique, accentuated by minimalist lighting and costumes. The focus remains entirely on Miyoshi’s extraordinary skill.
Following such an act is challenging. Chanel DaSilva premieres her first commission for Hubbard Street in “Atlas.” Known in Chicago, DaSilva crafts short pieces, recently contributing to the Joffrey Ballet. Her “Atlas” imagines the mythical figure bearing the world. The trio of women during Thursday’s performance, Bianca Melidor, Simone Stevens, and Cyrie Topete, grapple with exercise balls, ultimately tossing them with ease.
While “Atlas” contains beautiful moments, such as Stevens’ solo, its position between Fosse and Barton pieces may hinder its full impact. Though potentially capturing themes of womanhood and inspiration, its literal approach limits deeper exploration.
Hubbard Street Dance Chicago Spring Series Review: 3.5 stars
When: Through Sunday
Where: Harris Theater for Music and Dance, 205 E. Randolph St.
Running Time: 1 hour, 40 minutes with an intermission
Tickets: $47-$101, call 312-334-7777 or visit harristheaterchicago.org
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