Posted by: trailerpilot | 02:02::2009

Crash and earn.

At the end of last year I finally made it to a Chicago Dance Crash show, December’s Kyle Kills the Radio Stars at Ruth Page (my review–which took the form of a personal letter as it went down pre-blog–is copied after the jump).  If you’re a working male dancer, or want to be one, and you think you’ve got the stamina to make it through one of Kyle’s shows well then free up your afternoon Sunday, February 8th for a *free* master-class-slash-audition ahead of the company’s Movement/Gentlemen show this April (the workshop is called “Movement for Gentlemen” but is explicitly open to both men and women).  It’s from 2:30-5:00pm (registration begins at 2:00pm) at the brand-spanking-new Joel Hall Dance Center at 5965 N Clark.  No headshot or resume are necessary, but an RSVP is recommended to info (at) chicagodancecrash (dot) com  Good luck!

Speaking of workshops, some of which I’ve covered here earlier, there are a ton going on at Link’s this month–be sure to visit their website for an update and rundown.

Also in the hip-hop column, this video recently became known to me via a certain lesbian clown here in Chicago, and it’s ausgezeichnet if you haven’t already seen it.

Below are my thoughts on Kyle Kills the Radio Stars, from a December email to CDC dancer/media relations manager Marissa Moritz:

The evening flew by.  It was threaded together in such a way that the singles really felt part of a whole, which I found impressive, as I probably wouldn’t think of grouping those songs together in really any way.  It was obviously a playlist of some personal significance, and what I found enjoyable about KKTRS was that the dances never cast this into any doubt.  The dancers also were easy to connect to, and uniformly open to the observer.  I didn’t always feel as though the cast’s size was justified–there were frequently so many dancers onstage, and yet the compositions (fine in and of themselves) rarely begged for that many bodies for their successful execution.  In other words, I thought that a smaller, thoughtfully selected cast could have accomplished just as much, and with less visual confusion (overall, KKTRS read as meticulously rehearsed, but as each additional dancer adds so slight a different take on the material, it adds up to appear to be less cohesive, less striking in unison than it in fact is).  What this did for me, also, is then cast the women as “chorus” to the 4 male “soloists,” despite some inspired work by the women.  I hope that makes some sense.  Brian Hare was a joy to watch, and lent an impressive amount of nuance and ease to all his roles.

In a lot of cases, these singles (almost all of which I have heard, so I thought, far too many times) were brought to life by the dancers and by Kyle’s choreography, which stayed mercifully distant from obviousness and mime.  Within the palette of how he approaches dancemaking–which is somewhat limited compositionally although very rich in texture and invention–he showed himself more than adept at making an evening of “numbers” amount to far more than the sum of their parts.

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Responses

  1. YAY! Thank you for helping fill my social calendar!

  2. You’re a real deep thinker. Thanks for sharing.


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