Unmissable Dance Performances at the Auditorium Theatre
The Auditorium Theatre’s fall season is set to make a significant impact in the world of dance. This achievement is largely due to Marisa Santiago, the producing director of artistic programming. She has played a pivotal role in curating the dance lineup at the historic 135-year-old venue located near the Loop’s southern edge.
Dance Theatre of Harlem Returns
Among the highlights, Dance Theatre of Harlem is set to make a long-awaited return to Chicago. This historically Black ballet company, nearly six decades old, has not performed in the city for ten years. Their single-night performance at the Auditorium promises to be a memorable event.
New Additions to the Fall Line-Up
In addition to Dance Theatre of Harlem, Ballets Jazz Montréal will debut in Chicago with “Dance Me.” This show celebrates the music of Leonard Cohen and will retire after this tour. Santiago’s decisions have brought notable performances to the venue, creating a sense of momentum and excitement among audiences.
Martha Graham Dance Company also performed during its centennial year, along with the return of Parsons Dance Company and Tiler Peck and Friends, led by the New York City prima ballerina.
Long-standing Partnerships and Strategic Planning
Alvin Ailey American Dance Theater has been a cornerstone of the Auditorium’s dance programming for over fifty years. The season ahead aims to embrace North American dance, featuring Dance Theatre of Harlem, Ballets Jazz Montréal, and Ailey, alongside the spring returns of Les Ballets Trockadero de Monte Carlo and Ballet Folklorico de Mexico.
Santiago acknowledges the importance of understanding the venue’s audience and selecting performances that resonate with them. The decision to offer dance is a calculated risk, considering the expenses and smaller audience size associated with it.
Challenges and Creative Solutions
With Joffrey Ballet’s relocation to the Lyric Opera House, the Auditorium had to adapt. Santiago and the team pursued creative strategies to fill the gap left by Joffrey. They introduced more concerts and diverse shows, attracting varied audiences and forming relationships with different promoters.
Despite challenges, Santiago maintains a strong commitment to dance at the Auditorium. “Dance belongs here,” she emphasizes, highlighting the venue’s historical ties to dance performances.
Innovative Audience Engagement
The Auditorium introduced the “curtain cap” system to create a more intimate atmosphere during dance performances. Draping off upper balconies reduces the daunting task of filling 4,000 seats, offering a more engaging experience for audiences.
This strategy aids in creating opportunities for sellouts and allows for additional ticket releases and balcony openings if necessary.
A New Era of Programming
Santiago’s approach includes Dance Partners, a donor group that supported the introduction of “Dance Me” to Chicago. The collaboration involved visiting Montreal for a studio tour with Ballets Jazz and advocating for the performance’s inclusion in the Auditorium’s lineup.
Santiago shifted away from prioritizing local Chicago dance companies, opting for a mix within the programming. Last season featured performances themed around female leadership, including Trinity Irish Dance Company and Ensemble Español Spanish Dance Theater.
Deeply Rooted Dance Theater is the exception. They continue to maintain an annual presence at the Auditorium, drawing comparisons to renowned groups like Alvin Ailey.
Lauren Warnecke, a freelance critic, provides insights into the dance landscape at the Auditorium.