Hubbard Street Dance Chicago Returns with an Exhilarating Program by Israeli Choreographers Ohad Naharin and Sharon Eyal



Who: Hubbard Street Dance Chicago
Presented by: White Bird
When: Wednesday, February 13, 2013 7:30 pm
Where: Arlene Schnitzer Concert Hall, 1037 SW Broadway, Portland
Sponsor: West Coast Bank, The Oregonian
Tickets: $26–$64 available at and at PCPA Box (ZERO ticket fees).
Also available at 1-800-380-3516 (additional fees will apply).
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“A near-perfect storm of movement, music, and choreography.”
The Los Angeles Times

White Bird is proud to present Hubbard Street Dance Chicago on February 13 at the Arlene Schnitzer Concert Hall with an exhilarating program showcasing contemporary Israeli choreography. Celebrating 35 years as one of the most original forces in contemporary dance, the 18-member Hubbard Street Dance Chicago is acclaimed for its exuberant and innovative repertoire, as well as its wonderfully versatile dancers. Last appearing with White Bird in 2010, Hubbard Street returns with two unique and compelling works by famed Israeli choreographers Ohad Naharin, Artistic Director of Batsheva Dance Company, and Sharon Eyal, former House Choreographer at Batsheva and founder of  L-E-V, a new dance company.  Naharin’s THREE TO MAX and Eyal’s Too Beaucoup are intensely physical, full-out ensemble works that prompted the Chicago Sun-Times to declare, “The sheer heat of the dance was undeniable.”


Drawing from two works choreographed for Israel’s Batsheva Dance Company — Three (2003) and Max (2007) — Ohad Naharin re-imagined and wove together sections to create THREE TO MAX specifically for Hubbard Street in 2011. This process utilized an innovative dance language developed by Naharin called Gaga technique, which explores connections between effort and pleasure and generates a rich variety of movements. A meticulously paced and deeply musical ensemble work, THREE TO MAX alternates subtlety and restraint with explosive power. Solos emerge from and dissolve into the group of dancers as they collectively command the stage. The Chicago Sun-Times calls Naharin’s work “riveting from start to finish.”

Too Beaucoup by Sharon Eyal and her regular collaborator Gaï Behar premiered alongside THREE TO MAX in 2011, Hubbard Street’s first program devoted to contemporary Israeli choreography. In Eyal’s piece, cold and mechanical movements collide with wildly expressive, personal ones as its beat-driven soundtrack cruises through Gang of Four, Vicious Pink, Depeche Mode, Ivan Pavlov (COH), Leonard Cohen, Cole Porter, Vice, Art Blakey & The Jazz Messengers and Oren Barzilay. Too Beaucoup’s performers appear onstage in unisex, flesh-colored costumes with severe wigs and white contact lenses — simultaneously exposed and dehumanized.


Ohad Naharin began his dance training with the Batsheva Dance Company in 1974, before joining the Martha Graham Dance Company in New York. He went on to perform internationally with Israel’s Bat-Dor Dance Company and Maurice Béjart’s Ballet du XXe Siècle in Brussels before returning to New York in 1980 to found the Naharin Dance Company with his late wife Mari Kajiwara. Appointed Artistic Director of Batsheva Dance Company in 1990, Naharin has guided the Tel Aviv–based company with an adventurous artistic vision and reinvigorated its repertoire, creating more than 20 works during his tenure. His choreography has also been performed by prominent companies from around the world including Nederlands Dans Theater, Lyon Opéra Ballet, Cullberg Ballet (Sweden), and Cedar Lake Contemporary Ballet (New York). In addition to his work for the stage, Naharin has pioneered Gaga, a groundbreaking approach to dance instruction, revolutionized the company’s training, and emerged as a growing force in the larger field of movement practices for both dancers and non-dancers.


Born in Jerusalem, Sharon Eyal danced with the Batsheva Dance Company from 1990 until 2008 and began choreographing within the framework of the company’s Batsheva Dancers Create project. Eyal served as Associate Artistic Director of Batsheva between 2003 and 2004, and House Choreographer of the company between 2005 and 2012. In 2009, Eyal began creating pieces for other dance companies: Killer Pig (2009) and Corps de Walk (2011) for Carte Blanche Dance of Norway; Too Beaucoup (2011) for Hubbard Street Dance Chicago; and Plafona (2012) for Tanzcompagnie Oldenburg in Germany. In 2013 Eyal launches L-E-V with her longtime collaborator Gaï Behar.


Hubbard Street Dance Chicago, under the artistic leadership of Glenn Edgerton, celebrates its 35th season in 2012 and 2013. Among the world’s top contemporary dance companies and a global cultural ambassador, Hubbard Street demonstrates fluency in a wide range of techniques and forms, and deep comprehension of abstract artistry and emotional nuance. The company is critically acclaimed for its exuberant and innovative repertoire, featuring works by master American and international choreographers. Hubbard Street’s 18 artists hail from four countries and 12 U.S. states, and comprise a superlative ensemble of virtuosity and versatility. Since its founding by Lou Conte in 1977, Hubbard Street has grown through the establishment of multiple platforms. Each is dedicated to the support and advancement of dance as an art form, as a practice, and as a method for generating and sustaining communities of all kinds.


Glenn Edgerton, Artistic Director, joined Hubbard Street Dance Chicago after an international career as a dancer and director. At the Joffrey Ballet, he performed leading roles, contemporary and classical, for 11 years under the mentorship of Robert Joffrey. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater (NDT), where he danced for five years. He retired from performing to become its artistic director, leading NDT for a decade and presenting the works of Jiří Kylián, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Johan Inger, Paul Lightfoot and Sol León, among others. From 2006 to 2008, he directed the Colburn Dance Institute at the Colburn School of Performing Arts in Los Angeles. Edgerton joined Hubbard Street as associate artistic director in 2008; since 2009, he has built upon more than three decades of leadership in dance performance, education and appreciation established by founder Lou Conte and continued by Conte’s successor, Jim Vincent.


White Bird’s 15th season (2012–2013) is supported by the Regional Arts & Culture Council and Work for Art, The James F. and Marion L. Miller Foundation, Paul G. Allen Family Foundation, National Endowment for the Arts, M.J. Murdock Charitable Trust, PGE Foundation, The Jaffe Foundation, Oregon Arts Commission, Oregon Cultural Trust, Starseed Foundation, Trust Management Services, and Harold & Arlene Schnitzer CARE Foundation.