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The Joffrey's Triumphant Return to the Northrop Stage

Christine Tschida
Feb 20, 2019

Company's last visit was in 2013

In 1956, The Joffrey Ballet started as a six-dancer ensemble that toured the United States in a station wagon pulling a U-Haul.

Many miles, many cities and many years have passed since then. Next week, when the company brings their newest ballet, Anna Karenina, to the Northrop stage, a company of nearly 50 dancers will arrive, accompanied by four semi-trucks full of sets and costumes. What a difference the decades have made.

Truth is, while the Joffrey might have started out some 60-odd years ago as a scrappy, itinerant troupe, I was beginning to fear that their travelling days might be over. Since their last visit in 2013, I have been asking (OK, begging….) them to come back to Minneapolis.

The Joffrey boasts 12 previous tour appearances at Northrop, dating back to 1976. Through the ‘80s and 90s, they came here very consistently, appearing almost every other year. The Joffrey had distinguished themselves as a very hip ballet company—giving Twyla Tharp her first major commission for Deuce Coupe, set to Beach Boys songs. Their amazing, full-length Billboards, created by 4 different choreographers, came to Northrop in 1993, with music provided—royalty free—by Minneapolis’ own Prince. (He had seen the company perform in Los Angeles and fell in love with them.)

But there was a long hiatus between their 1996 and 2005 engagements here—coinciding with a period when the company left New York City to establish a new home in Chicago, and during a particularly perilous financial period. Another long wait ensued between 2005 and 2013, their most recent Minneapolis appearance at The Orpheum during the Northrop reconstruction period. The company’s acclaim continued to grow and their productions became larger and more elaborate—certainly no more tours in a U-Haul! The company was enjoying several long home seasons in Chicago, and visiting much larger venues in Los Angeles and New York where they could play multiple performances. It took a personal visit and a lunch with Joffrey artistic director Ashley Wheater to convince him that they really must come back and dance on the new Northrop stage.

The Joffrey finally agreed to bring us their brand new Anna Karenina, hot off the stage from its Chicago world premiere. When I spoke to Mr. Wheater just last week about how preparations were going, he was beyond ecstatic about the work that choreographer Yuri Possokhov was creating for them. He said that the ballet was “…absolutely everything that I had hoped it would be. It is a blend of dance and theater that is just stunning, and I know your audiences are going to love it!”

Critics in Chicago have certainly agreed, calling it a “show piece,” “an original ballet to call their own,” and “one for the ages.”

I am certainly happy they are coming back, and urge you to join us Sat, Mar 2 or Sun, Mar 3 for their triumphant return. Yes, there are two opportunities to see Anna Karenina—so don’t miss it! After all, who knows how long we’ll have to wait for the Joffrey to come back again?

Christine Tschida is artistic director for the Northrop Dance Series.


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Reel Motion: Anna Karenina gets the full, glossy MGM treatment

Shayna Houp
Feb 13, 2019

Film complements The Joffrey Ballet's performance

Welcome to Reel Motion, a series of blog posts that examine the Northrop Film Series selections. Find out more about the Anna Karenina screening Wed, Feb 27 (rescheduled from Wed, Feb 20) at 6:30 pm before The Joffrey Ballet’s performance on Sat, Mar 2 and Sun, Mar 3.

There have been approximately 23 film and television adaptations of Leo Tolstoy's classic novel Anna Karenina since 1911. Tolstoy's story of tragic romance has continually struck a chord with readers since 1876 as evidenced by the countless versions of this story adapted not only for film and television but also for the radio, stage, and even as a sci-fi mash-up novel titled Android Karenina.

Each adaptation treats its source material more respectfully than others. Choosing a film version to pair with the world premiere of The Joffrey Ballet's own interpretation of the story proved to be more challenging than merely selecting whatever the most recent film or television adaptation happened to be. Each version of the story emphasizes different aspects of Tolstoy's timeless work. Some capture the sheer scope of the book at the expense of the characters and others merely lift the basic plot and character dynamics from the book, while the rest of the production goes off on a journey that bears little resemblance to its source material. Others simply don't survive in their entirety (or at all) to be dissected by a contemporary audience.

This adaptation of Anna Karenina released by MGM in 1935, though by no means perfect, does succeed in interpreting the scope of the novel for a film without sacrificing the emotional journey of the characters. The complexity and scale of the novel are communicated entirely through stunning cinematography. In perfect contrast to the grand MGM treatment the story's setting gets, the emotional stakes are left in the more-than-capable hands of the top-billed cast, with the incomparable Greta Garbo providing a passionately tortured performance.

Dealing with the social criticism implicit in Tolstoy's original novel while mining the depths of the rich emotional life of his characters, arguably bound by circumstance not entirely of their own choice, is what makes this story so attractive to adaptation. Consider this screening an appetizer for the meal that will be The Joffrey Ballet's own take on this classic work when they perform Yuri Possokhov's version in March.

Shayna Houp is Northrop's Artist Services Manager and curates the Film Series each season.

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Spotlight on Ate9's "calling glenn"

Amy Nelson
Feb 07, 2019

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Ate9 - "calling glenn" Ate9 - "calling glenn"
Photo by Cheryl Mann Productions

Israeli-trained choreographer Danielle Agami has created a one-hour work of visceral honesty and offbeat humor in calling glenn, a collaboration with Wilco drummer Glenn Kotche. Here are some fast facts about the company, the collaboration, and the performance coming to Northrop on Feb 7.

Contrary to popular belief, calling glenn was not directly named after Wilco drummer Glenn Kotche, who performs on stage as part of the piece. Ate9 Artistic Director Danielle Agami named the piece for donor Glenn Kawasaki. Remarkably, just 24 hours after titling the work, Agami was introduced to Glenn Kotche’s music.

Agami is known for her work teaching and creating performances using Gaga Movement Language, which is a technique that relies on concepts and abstract interpretations rather than steps and positions like in ballet.

Kotche is known for his work with Wilco but also has ties to the Saint Paul Chamber Orchestra’s Liquid Music Series. He composed for and performed with Third Coast Percussion on Wild Sound, a multimedia performance scored for everyday objects and custom-made instruments.

Using his expertise in creating sound from unconventional items, Kotche once showed Agami the small electronic bugs he uses on drums—along with grains of rice—to mimic the sound of rain. Ate9 then bought 20 electronic bugs at a toy store and those found their way into calling glenn’s choreography.

Agami favors working themes of awkwardness, embarrassment, and weakness into her choreography, noting that “We all go through times of awkwardness, and I am not afraid of that—not in movement, not in relationship with my dancers, and not in relationship with my audience. It’s OK to have an awkward moment.”

See a sneak peek of calling glenn.

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REEL MOTION: Wilco’s worries and wonders in black and white

Shayna Houp
Jan 25, 2019

Welcome to Reel Motion, a series of blog posts that examine the Northrop Film Series selections. Find out more about the I Am Trying to Break Your Heart: A Film About Wilco screening Wed, Jan 30 at 6:30 pm before Ate9 performs calling glenn  on Thu, Feb 7.

What happens when a group of musicians reaches a point in their careers where they are given complete creative freedom, the money to make the art they want to make, and no corporate babysitter to tell them how to make it? 

I Am Trying to Break Your Heart: A Film About Wilco captures the band on the cusp of being pushed into a newer, different incarnation at just that pivotal moment. This celebrated indie-rockumentary, directed by Sam Jones in his feature-film debut, preserves a moment in time that can't happen again. Filmed in the summer of 2000 while the band created and recorded their seminal Yankee Hotel Foxtrot album, this movie is now a period piece.

Shot in black-and-white on 16mm film, it is one of the last of its kind to be shot on actual, physical celluloid.

For the band, it captures them unexpectedly in the grips of the age-old conflict between art and commerce. At a time just prior to the digital music revolution, getting dropped by their record label with no way to know if their music will ever be heard by their fans may not play in our streaming on-demand world of 2019 like the anxiety-inducing development that it was to Wilco back then.

If behind-the-scenes business drama isn't your cup of tea, Jones captures moments of internal creative and interpersonal conflicts that make this film more compelling than anything on reality television today. Ultimately, what makes this film a must-watch example of the rockumentary genre is simple: Wilco's music shines through, preserved in iconic, grainy black-and-white imagery. 

Shayna Houp is Northrop's Artist Services Manager and curates the Film Series each season.

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Ate9’s Jordan Lovestrand loves "calling glenn"

Jordan Lovestrand
Jan 16, 2019

ate9_jordan-lovestrand-by-cheryl-mann_blog.jpg

Jordan Lovestrand of Ate9 Jordan Lovestrand of Ate9
Photo by Cheryl Mann Productions

Dancer returns to Minnesota for Feb 7 performance

When we learned that Ate9 dancer Jordan Lovestrand was from Minnesota and would be returning home for the Feb 7 performance of calling glenn, co-presented with Walker Art Center, we wanted to hear about his experiences. Here are highlights from our interview.

What are your ties to Minnesota?

I was born and raised in Minnesota, specifically Bloomington. I attended Thomas Jefferson High School and then attended Gustavus Adolphus College in St. Peter. 

How did you become a dancer?
I started to dance in the fall of 2013 when I entered Gustavus Adolphus as a first year. During my orientation, I saw auditions for the Gustavus Dance Company and my gut was telling me that I had to go! I went to the audition and afterwards I started in Sarah Hauss’ beginning modern technique class. I also auditioned for a student choreographed concert that same fall and was cast in two works by THE TWO choreographers I was hoping to be cast by.  

Before Gustavus, I was a part of the show choir program, the Jefferson Connection, during my senior year at Thomas Jefferson High School. Being a part of that sparked my passion for performing—I was really only interested in the dancing aspect of show choir).

How long have you danced with Ate9? 
Since September. 

What is your professional dance history?
When I was studying abroad, from 2015-2016 in Jerusalem, I was a member of Kolben Contemporary Dance Company. I have also worked with Danielle Agami prior to becoming an Ate9 member. I performed as a guest artist with Terminus Modern Ballet Theatre when Danielle was choreographing Next Door on the company.

What is your favorite part in calling glenn?
Every part of calling glenn is my favorite part, even when I’m not on the stage. The piece offers a range that I haven’t experienced in other choreographers’ works. There is intimacy, risk, flair, honesty, tenderness, captivating changes in space, humor, and other qualities or themes that engage any audience member. 

What should we watch for in calling glenn?
I don’t think there should be any insider clues for what to watch for or what to expect. Come curious and the rest will be shown. 

If you weren't dancing, what would you be doing?
I’m unsure what I would be doing if I wasn’t dancing. I would first move back to Minnesota to be closer to my family. I would go back to LifeTime Fitness in Bloomington North to be with my CrossFit family. I would go back to serving. I’m in love with video games and CrossFit, so I would probably be doing something with one of the two.

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