Chicago Cultural Center
78 E. Washington St.
Chicago, IL 60602
66 E. Randolph St.
Chicago, IL 60601
201 E. Randolph St., between Michigan Ave. & Columbus Ave. Chicago, IL 60602
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The Chicago Department of Cultural Affairs and Special Events' Theater and Dance Residencies give emerging and established performing artists the opportunity to test-drive new work in a public setting. Each residency is tailored to the needs of the artist or company and their project and takes place in the most suitable DCASE space. Each showing is a unique opportunity for audiences to get a behind-the-scenes look at new work by Chicago artists. To view past showings, click here.
All Showings are FREE Admission!
Sindy Isabel Castro is an actress, educator, and theatre artist. She’s an Ensemble Member with Adventure Stage Chicago. Acting: The Brave Face Project (Auditorium Theatre), The Scarlet “S” Project, Ceci in Lydia (National Pastime Theatre), The Giver (Adventure Stage Chicago), and A Very Luna Christmas (Teatro Luna).
Stories from my Mother
When I lost my grandmothers, I watched as my parents wrestled with defining new relationships with their mothers now that they were gone. Stories from my Mother will explore relationships with mothers: What do they pass along? What do we take with us? What do we miss the most?
Lucky Plush Productions is an ensemble dance-theater company based in Chicago, led by founder and Artistic Director Julia Rhoads. Lucky Plush’s work is recognized for its layered choreography, nuanced dialogue, surprising humor, socially relevant content, and for provoking a palpable live-ness that is shared in real time among performers and audiences. The company has presented work in 40 US cities from Maine to Hawaii, and international partners span from New Zealand to Cuba. Commissioners include Harris Theater for Music and Dance, Museum of Contemporary Art Chicago, Krannert Center at University of Illinois, Clarice Smith Performing Arts Center, Flynn Center for the Performing Arts, and Links Hall. Lucky Plush is the only dance company to receive the prestigious MacArthur Award for Creative and Effective Institutions, recognition of the company’s exceptional creativity and impact and a major investment in its reserves. Additional awards include National Dance Project, National Performance Network, National Endowment for the Arts, and MacArthur International Connections Fund, among others.
Rooming House is the next evening-length work of Lucky Plush Productions, and the third collaboration between artistic director Julia Rhoads and collaborating director Leslie Danzig. The work sheds contemporary light on the myth of Orpheus and Eurydice while revealing mythic storytelling as a dynamic map that invites ongoing revision. Lucky Plush will approach the story as a porous architectural blueprint, offering thresholds through which the performers enter, linger, exit and, along the way, reject and revise this enduring myth. Told through contemporary circumstances, multiple and diverse viewpoints, and an unrelenting drive of dialogue and choreography, the story takes numerous twists and turns based on the physical and emotional conditions of performing the work. Central to the process are two creative exchanges with Cuban-based Danza Teatro Retazos that will allow Lucky Plush’s creative team to deepen their process and inform their approach to Rooming House, particularly as they call into question the universality of myths, the modes of their interpretation, and how they function both personally and culturally. The material that emerges is available to both companies for distinct performances, but will not be a co-production.
Directed by Keith Parham
Keith Parham works primarily as a Lighting Designer and company member of TUTA. Design credits include BROADWAY: Roundabout Theatre Company. OFF-BROADWAY: 2econd Stage Theatre, Atlantic Theater Company, Barrow Street Theatre, St. Ann's Warehouse, Classis Stage Company, Lincoln Center Theatre. INTERNATIONAL: Sydney Opera House, National Theatre of Belgrade. AWARDS: Obie, Lortel.
Pagliacci is a journey into the beauty and darkness of human nature. This famous opera is being reconstructed into a contemporary form, which utilizes actors, singers, and musicians searching for a new way to experience the contemplation of who we are.
Joanna Furnans is an independent dance artist based in Chicago. Her choreography has been supported by the Walker Art Center (MN), the University of Minnesota (MN), the Pleasure Rebel Series (MN), the Chicago Moving Company (Chicago), Links Hall (Chicago), and the Department of Cultural Affairs and Special Events (Chicago).
I will be holding three, three-day workshops open to experienced dancers to research new processes and theories for the development of a new work. We will be working with an idea of collective individualism and the conflicting desires of wanting acceptance and wanting to stand out from the crowd.
Victoria Bradford is an artist invested in image-making, public performance, and text-based systems for movement. Todd Mattei is an artist working in music, animation, and video. Bradford and Mattei have each shown work extensively, including recent engagements at the MCA Chicago and Les Rencontres Internationales, Paris.
Hiding Lost Things
A collaborative endeavor—a duet between media and persons—Hiding Lost Things cultivates movement vocabulary from Bradford’s daily public practice and sound vocabulary from Mattei’s ongoing music compositions. Bradford and Mattei seek to apply the form and function developing to psychographic unravellings revealed in the work and in our lives.
Creative Time/Links Hall Sponsored Artist J'Sun has been exhuming constellations from the flesh and framing it as dance in Chicago for over ten years. A Chicago Dancemaker's Forum Lab Artist, 2014, a recent High Concept Laboratory resident artist, he consistently dares you to reckon with this!
Working On Better Versions of Prayers
Sworn statement. Affirmation. Affidavit. Working On Better Versions of Prayers is embedded with the perpetual mind game of “describing the world as if I’m going to die at any moment,” finding embodied language to recontextualize violent crackery (cracker--euphemism for whip wielder historically from Black holocaust in North America).