The Hubbard Street Dance Chicago’s season finale opens with a striking formation. Dancers align in two opposing lines, resembling a rugby scrum. They lean toward each other, carefully balancing to avoid falling. This intense start marks the beginning of LubDub, choreographed by Aszure Barton for her residency at Hubbard Street, now in its third year. Though intended as an open-ended project, many hope Barton remains in Chicago beyond this premiere.
LubDub fills the entire second half of the performance, running through Sunday at the Harris Theater for Music and Dance. It spans nearly 30 minutes, taking viewers on a visceral journey symbolizing the heart’s function. The title, LubDub, represents the sound heard in a stethoscope. It mimics valves opening and closing, directing blood flow through the heart’s chambers. Barton likely doesn’t intend a literal anatomy lesson, but the 14 dancers can easily be imagined as tiny blood cells navigating the body. They move in trembles and sputters, creating curvilinear paths on stage.
The performance could also reflect an internal pulse felt when music truly connects. The opening features a macabre and cinematic vibe that transitions into Africanist percussion and strings, courtesy of Jlin and Kronos Quartet’s “Maji.” Electronic composer Jlin, from Gary, prominently contributes to LubDub, along with Kara-Lis Coverdale and Susanne Lundeng. Aesthetically, this piece fits with Barton’s style, akin to her earlier work Busk, integrated into Hubbard Street’s repertoire in 2021. Key features include dim top lighting by designer Jim French and frumpy, maroon outfits with pleated skirts designed by Barton and Jenah Hensel. The movement vocabulary is both serious and silly without being pithy or overly emotional.
Alongside LubDub, Bob Fosse’s work serves as the appetizer in the evening program. The event opens with pieces by Fosse and Gwen Verdon as part of Hubbard Street’s collaboration with the Verdon Fosse Legacy. This partnership makes Hubbard Street the only concert dance company with such an arrangement. On Thursday, adjustments to the casting placed Alexandria Best between Dominick Brown and Aaron Choate for Sweet Gwen Suite, while Shota Miyoshi starred in Fosse’s solo piece, Percussion IV. Miyoshi, with a background in jazz dance, showcased impressive technique in this challenging four-minute performance. The simple lighting and costume focused attention squarely on Miyoshi, whose execution was remarkable.
The subsequent act, Atlas, marks Chanel DaSilva’s first commission for Hubbard Street. In Atlas, DaSilva explores mythological themes, channeling the story of Atlas who bears the world’s weight. This interpretation features a trio of women wresting with large, foil-lined exercise balls. Over time, these balls lose their gravity, tossed playfully into the air. Positioned between works by Fosse and Barton, Atlas struggles for presence despite including some beautiful moments, like a standout solo for Simone Stevens. While inspired, the piece conveys an underdeveloped theme, hindered by its literal execution.
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 intermission
Tickets: $47-$101 at 312-334-7777 and harristheaterchicago.org