Virginia VanLieshout

Cullen-Fuller
DANC 341
4/11/16
Giordano Dance Chicago Review
Dance is a unique form of expression that is conceptually beyond all other forms of

language and like any other form of art, strives to reach all audiences. Because of this, more

contemporary forms of dance can be difficult to understand among different audiences. Giordano

Dance Chicago did a particularly good job of pulling in a wide age range during their Spring

Series, performed April 1st and 2nd at the Harris Theater. The audience was packed with views of

all ages, from toddlers to people well into their senior years. Besides the Nutcracker, Ive rarely

seen young children in the audience of professional shows and it was refreshing to see attended a

show that reached such a wide age range. By the end of the show it was easy to see what

brought the diversity in audience ages. Artistic director, Nan Giordano, did a fantastic job

creating variety in the styles of movement throughout the show. The Spring Series included the

pieces: EXit4 (2013), Like 100 Men (2002), Alegra (2011), Sneaky Pete (World Premiere),

commonthread (2009) and Sing, Sing, Sing (1983). Giordano Dance Chicago used lighting and

purposeful, high-energy movements to create a unique, high-impact performance that captured

the attention of viewers of all ages.

Giordanos show was particularity captivating because of its use of lighting designs to

create a dynamic atmosphere for the dancers. This was particularly notable in EXit4, and Like

100 Men. Each of these pieces used vastly different lighting techniques but equally contributed

to the atmosphere of the dance. In EXit4, the importance of lighting design, by Kevin Dreyer,

was seen most obviously in Section II. Crash and Section IV. Wet Stones Full of Light. Section

II. Crash, was danced by an all male cast to pre-recorded music that suggested an industrial and
mechanical theme. In this section, strength and chaos were the prime feelings portrayed to the

audience. Lighting contributed to the tone of the piece because of the intense, almost demonic

color of red mixed with the shadows that gave the number a post-apocalyptic feeling. On the

completely, opposite side of the spectrum, lighting for Section IV. Wet Stones Full of Light used

calico lighting by throwing splotches of tan, beige, brown and black lights onto the stage. This

reinforced the tranquil and almost cautious atmosphere that the dancers set through their

movement. During a particular part of this piece there is a single light shining from the top of

wing one and all the dancers carefully approach it adding to the cautious vibe. In another piece,

Like 100 Men, lighting was used to portray a cool and modern atmosphere. This piece was also

an all male cast, costumed in sleek suits, that oozed the vibe of smooth and casual. To

compliment this vibe, lighting designer, Tabitha Rodman, used blocks of light to create a

chessboard-esque setting on the floor. For the solos, this changed to one bright spot light on the

soloist. As the soloist changed the light faded from one to another as they did the exact same

movement. The clean and classic lighting lines used in this piece contributed greatly to the

casual and modern vibe of the piece.

Another way Giordano captured the audience was through purposeful, high-energy

movements. While this was an across the board feature, it was particularity noticeable in EXit4

choreographed by Ronen Koresh, Like 100 Men, choreographed by Jon Lehrer and in Sing, Sing,

Sing, choreographed by Gus Giordano and restaged by Nan Giordano. In EXit4, dancers in all

sections used athletic and energetic movements to keep the audience completely entranced by

their performance. These dancers exuded strength through the entire piece which was interesting

to see in Section III. Wall where the all female cast used fluidity in their movements. The

strength they used in their movements did not take way from their ability to be fluid, if anything,
their use of strength and energy made them more fluid. Instead of simply flowing through, their

movements had a purposeful and resistant quality that I really enjoyed seeing. Unlike the energy

via purposeful fluidity in EXit4, Like 100 Men used contained energy to further portray the cool

and smooth style of movement. This pieces style was an extremely traditional jazz and had a

West Side Story-esque attitude. Unlike the other pieces, while there were high amounts of

energy, they were very contained. Very ounce of energy was put into the large leaps, multiple

pirouettes and athletic partnering that made up most of the piece. While there was no lack of

energy, it was contained to the large movements which even further pushed the cool, calm and

collected vibe. Unlike either of the previously mentioned pieces, Sing Sing Sing was by fair the

most outwardly energetic piece. The Fosse-esque style threw the controlled movements from the

other pieces out the window and adopted a more flailing, up beat, swing style. This was one of

my favorite pieces because the energy projected out to the audience by the company was

infectious. There were kids dancing in their seats and almost the entire audience was clapping

along with the rhythm. While many of the other dances kept the energy contained into quick and

athletic movements, the energy for this piece seemed to be projected out of the dancers and onto

the audience.

In conclusion, Giordano Dance Chicagos Spring Series had a great amount of diversity

in styles of jazz that were shown and I was especially interested to see movements Ive known

from competition applied to a professional company setting, two things that I had previously

thought mutually exclusive. Giordano did a fantastic job of attracting and engaging audience

members of all ages to the high-impact performance with their creative lighting designs and and

purposeful, high-energy movements.