Lauren Warnecke is a freelance dance writer based in Chicago, IL. She is the dance critic at the Chicago Tribune, and her writing has also appeared in Chicago Magazine, Milwaukee Magazine, See Chicago Dance and Dance Media publications, among others. Lauren also teaches dance theory and exercise science courses at Loyola University Chicago, and holds degrees in dance and kinesiology.
Hagerman, here with Kevin Wilson and Liang Fu in Twyla Tharp's In The Upper Room, easily shifts between classical and contemporary roles. Photo by Kenny Johnson, Courtesy Kansas City Ballet.
Lilliana Hagerman stepped into the spotlight in 2016, dancing the role of the Sugar Plum Fairy in Kansas City Ballet's Nutcracker during her first season as a full company member. But it's her chameleon-like ability to shift between classical and contemporary roles—such as her featured performances in Matthew Neenan's The Uneven and Stanton Welch's Play last season—which make this dancer so special.
Ballet Chicago Studio Company in Balanchine's Square Dance. Ron McKinney Photography, Courtesy Ballet Chicago.
"You'll find people say that we're very demanding, but we're not mean," says Daniel Duell, co-founder of the Ballet Chicago Studio Company, a rigorous, Balanchine-based pre-professional training program located in the heart of downtown Chicago. Duell originally formed Ballet Chicago as a professional company, which disbanded after 11 seasons in 1998. Today, the organization is wholly dedicated to training and is one of the only pre-professional programs in the country entrusted with staging George Balanchine's ballets.
In addition to running the Ballet Chicago Studio Company (BCSC) and its affiliated school, former New York City Ballet principal Duell and his wife, Patricia Blair, who danced with Eglevsky Ballet, are répétiteurs for The George Balanchine Trust. The couple's investment in Balanchine's technique and repertoire has afforded Ballet Chicago a unique relationship with the Trust, giving BCSC dancers the opportunity to perform classic ballets like Concerto Barocco, "Rubies," Tarantella and Valse-Fantaisie.
The first time Ashley Wheater was courted to be artistic director of the Joffrey Ballet, he said "Thanks, but no thanks"—he was very happy at San Francisco Ballet, where he'd spent eight years as a principal dancer and 10 more on the artistic staff. But a trip to the Windy City for the Chicago Dancing Festival and a visit to Joffrey's studios prompted feelings of nostalgia for Wheater's early years dancing with the company.
He was hired by co-founders Robert Joffrey and Gerald Arpino in 1985, when the company was still based in New York City and under Joffrey's direction. After Joffrey's death, Arpino became artistic director and later moved a struggling Joffrey Ballet to its current home in Chicago in 1995.
When Arpino fell ill and began to look for a successor, the company had lost much of its original adventurous spirit. Remembering its earlier spark, Wheater agreed to apply during that trip to Chicago, and accepted on the spot in 2007 after a weeklong interview process.
As the third artistic director in the company's 62-year history, Wheater has spent the last 10 years rebuilding its national reputation, tackling challenging new repertoire and reimagined classics at a ferocious pace. The rep now includes works by choreographers like Christopher Wheeldon, John Neumeier, Alexander Ekman and Yuri Possokhov. Wheater shelved many of Joffrey's and Arpino's dances to make room for new ones, preferring to honor Robert Joffrey's legacy by taking risks and fostering innovation.
Wheater. Photo by Todd Rosenberg, Courtesy Joffrey Ballet.