Giordano Dance Chicago (GDC), America's original jazz dance company, returns to the North Shore Center for the Performing Arts in Skokie, 9501 Skokie Blvd. at 7:30 p.m. Friday, Nov. 6 and Saturday Nov. 7. The engagement, part of GDC's 64th season, features the world premiere of "Caravan" by GDC Resident Choreographer Al Blackstone, a rework of his swing style full company work "Dumb Luck!" plus a mix of popular repertoire radiating GDC's signature energy and boundless spirit that has been showcased at North Shore Center since the Center's opening in 1996.

GDC is excited to present a world premiere, "Caravan" a solo work featuring GDC dancer Sasha Lazarus. This is Blackstone's fourth new work created for the company. "I'm so grateful for the push that Nan and Cesar give me to keep on asking how to continue elevating our beautiful art form that is jazz dance," says Blackstone.

The additional works program for the Nov. 6 & 7 engagement are scheduled to be as follows:

• "EXit 4" choreographed by Ronen Koresh (2013). Israeli Koresh's critically acclaimed, edgy, intense and dramatic full company work described by Stage and Cinema as "a fierce-to-ferocious, pile-driving set of four dances."

• "Gravity" choreographed by former GDC company member Lindsey Leduc (2009).This pas de deux provides a fresh look at young love and is described by Dance Magazine as "the portrait of a relationship based on release and submission."

• "Sabroso" (excerpts) choreographed by Del Dominguez & Laura Flores (2011). This sizzling full company ballroom work embraces elements of Cha-cha, Latin Swing and Mambo, and has been hailed as "A fiesta of swirling samba and equally hot social struts, flawlessly performed by the impeccable ensemble" (Stage and Cinema).

• "namuH" choreographed by Jon Rua (2026). This full-company piece fuses jazz and street styles for an urban funk sensibility. The Chicago Tribune says, "there's a rawness and refreshing degree of abstraction I wasn't expecting and, frankly, can't get enough of."

• "commonthread" choreographed by former GDC resident choreographer Autumn Eckman (2009). This work will be performed to an eclectic original music composition and live accompaniment by musician Dan Myers. Dance Magazine calls it "an undulating, lateral world of space and sound."

• "Dumb Luck!" a rework by Al Blackstone. Blackstone's jubilant full company work "Dumb Luck!" which originally debuted in GDC's April 2026 Harris Theater engagement, is in swing style and is infused with a contemporary flair.

Tickets

Tickets for the North Shore Center engagement are $35-$70. Fees apply over the phone and online. No additional fees in person at the box office. For tickets and more information visit northshorecenter.org or call 847.673.6300.

About Giordano Dance Chicago

America's original jazz dance company electrifies into their 64th season with radiance and infinite horizons. Giordano Dance Chicago (GDC) is an iconic cultural institution with deep roots in Chicago and around the globe (28 countries, 47 states, and more than 1,300 cities). From founder Gus Giordano's vision, the company continues to honor the past while pushing the art form forward. Nan Giordano celebrates 42 years as an artistic leader responsible for commissioning innovative choreographic works and mentoring thousands of dancers. Alongside Nan, Associate Artistic Director, Cesar G. Salinas and the magnificent dancers are an integral part of the GDC legacy. Al Blackstone serves as Resident Choreographer, truly a testament that the art form of jazz dance is thriving. The company is one of the few in the world that has a foundational technique, Nan Giordano Certification Program®, with certified teachers in 9 countries and 36 states. GDC is committed to Youth Arts Education at home and on tour through mentorships, scholarships, and our free Chicago Public Schools and park programs. GDC is proud to be one of the longest running dance companies in the world, continuing to enrich lives through dance. For more information visit giordanodance.org.

Giordano Dance Chicago (GDC) hosts its highly anticipated 19th Anniversary "Dancing With The Giordano Stars" ballroom dance competition 7-11 p.m. Thursday, Oct. 8 at Park West, 322 W. Armitage Ave. This popular annual event, patterned after the hit ABC series "Dancing With The Stars," benefits GDC's transformative initiatives through the GDC Youth Arts Education Fund. Event Co-Chairs are Dina Gallay and Sandy Golub. Emcee for the evening is former FOX News and sports anchor Corey McPherrin.

On Oct. 8, a group of Chicago A-listers, each with their Giordano professional dancer partner, will compete for a shot at winning the coveted Disco Ball and the title of Best Male Dancer or Best Female Dancer. The stakes are high with each couple performing only one dance for one chance to impress the guest judges including Emmy Award-winning director, choreographer and GDC Resident Choreographer Al Blackstone, Associate Publisher Chicago Star Media and author of the Candid Candace Blog, Candace Jordan and Emmy Award-winning Anchor/Reporter and Host at Fox 32 Chicago, Tia Ewing. Contestants also vie for special awards for Top Fundraiser and Audience Favorite.

The slate of male contestants (and their GDC dance partners) includes. Andy Anisfeld, Vice President Medical Affairs and Health Impact, Immunology, AbbVie (Erina Ueda), Adam Cummis, Restaurateur, Blaze Pizza (Analysse Vance), Ted Grady, Partner, J&L Catering ,(Sasha Lazarus), Erik Kessler, Managing Director, Alvarez & Marsal (Amanda Hickey-Newcom) and Peter Q. Thompson, Managing Director, Blue Marlin Partners (Talia Luzzo).

The slate of female contestants (and their GDC dance partners) includes Jordan C. Carqueville, MD, Founder of Derm Institute of Chicago (Joshua Brumm), Allana Emery, Finance Director , Publicis Groupe (Eduardo Zambrana), Annie Laughton, Stay at Home Mom (Simon Schuh),  Bonnie Micheli, CO-CEO, Shred415 (Aidan Aloma) and Elena Moore, Physician, Gynecologic Oncology, Endeavor Health (Adam Houston).

Individual tickets begin at $150. Tickets include a 4-hour open bar and light fare provided by J&L Catering. For tickets or more information, visit giordanodance.org/dwtgs or call 312.922.1332.

"Dancing With The Giordano Stars" fundraising supports GDC's transformative initiatives. Through the Youth Arts Education Fund, the company illuminates the path for the next generation with innovative programs such as the CPS Jazz Dance/Science & Health, GDC's Free Ticket Program, dynamic dance workshops, enriching mentorship partnerships, immersive school residencies and the esteemed NGCP® certification.

"Dancing With The Giordano Stars 2026" precedes GDC's "untamed passion" fall engagement
at the North Shore Center for the Performing Arts in Skokie, located at 9501 Skokie Blvd.,
at 7:30 p.m. Friday, Nov. 6 and Saturday, Nov. 7. For tickets, visit northshorecenter.org.

America's original jazz dance company electrifies into their 64th season with radiance and infinite horizons. Giordano Dance Chicago (GDC) is an iconic cultural institution with deep roots in Chicago and around the globe (28 countries, 47 states, and more than 1,300 cities). From founder Gus Giordano's vision, the company continues to honor the past while pushing the art form forward. Nan Giordano celebrates 42 years as an artistic leader responsible for commissioning innovative choreographic works and mentoring thousands of dancers. Alongside Nan, Associate Artistic Director, Cesar G. Salinas and the magnificent dancers are an integral part of the GDC legacy. Al Blackstone serves as Resident Choreographer, truly a testament that the art form of jazz dance is thriving. The company is one of the few in the world that has a foundational technique, Nan Giordano Certification Program®, with certified teachers in 9 countries and 36 states. GDC is committed to Youth Arts Education at home and on tour through mentorships, scholarships, and our free Chicago Public Schools and park programs. GDC is proud to be one of the longest running dance companies in the world, continuing to enrich lives through dance. For more information visit giordanodance.org.

It’s no secret every new dance season is filled with its own undercurrent of anticipation. Regardless of the company, audiences who follow them silently wonder what will be the prevailing theme that will dominate a troupe’s next major performance. What attributes will signal growth and maturity.  What kind of insights are going to be shared through a gifted choreographer’s storytelling skills.  What unexpected feat of technical or physical prowess is going to once again prove dance’s unmatched ability to translate the full scope our humanity.

Some companies can always be relied on to provide brilliant responses to those kinds of musings.  Giordano Dance Chicago (GDC) is one of them and their Ignite the Soul program at the Harris Theater for Music and Dance Friday night demonstrated that even with more than 60 years’ experience dancing at the top, the growing process never ceases.  The will and desire to keep striving, learning and absorbing does much more than simply avert atrophy.  It fuels the kind of energy that invigorates everyone on the stage and in the seats.  And it enables some of the galvanizing moments found in Ignite the Soul.

A broad ranging show that spanned genres of dance and artistic temperaments, half of the program’s six dance roster consisted of works that have never previously been performed publicly.  Two of the three world premieres were made possible by donors who, not so uncommonly, prefer to remain anonymous.

The show opened with resident choreographer Al Blackstone’s Latin inspired, Sana.  Receiving its own world premier last year, the dance lives as comfortably in the realm of contemporary dance as it does jazz.  Meant to evoke notions of healing, Sana highlights the beneficence of community and the power of the collective.  Thrillingly dynamic and often probing, Stahv Danker’s original score makes for a potent force that enhances Sana’s appeal.

Over the years, GDC has fine-tuned the way it incorporates film shorts to provide supporting information about the company, its history, its dancers, the choreographers it partners with and the wealth of community initiatives it conducts.  Each season these interludes become more polished and prove more indispensable.  One preceded each of the evening’s new dance segments; providing priceless insights into what fuels a talented choreographer’s creative process.  By the time tap dancer, choreographer and arts executive Mike Minery finished his explanation on how My Kind of Girl came about, you couldn’t wait to see the world premier he collaborated with GDC’s Artistic Director, Nan Giordano, to produce for the company. 

Adam Houston and Sasha Lazarus - photo by Zach Kemper.

Through his lead in, we learn how crucial tap is to much of modern dance and how instructive it can be to a dancer’s technical foundation.  Then we were reintroduced to how therapeutic and beautiful the dance form can be when Minery himself took to the stage with GDC’s splendid Erina Ueda to enrapture the hall with a gorgeous tap duet.  In this hyper-digitized, infamously disconnected world, My Kind of Girl is as analog as a warm hug and twice as pleasing.  Loaded with dance prowess of the highest level and bathed in Frank Sinatra’s silky voice backed by Count Basie’s band, the audience couldn’t help but cheer heartily after My Kind of Girl came to its swoon worthy close. 

Following that welcome touch of sweetness, the company brought out the flame throwers with Sabroso, a 2011 torcher crafted by Del Dominguez and Laura Flores.  Quintessential Giordano in its presentation, dancers shimmied and strutted their way through a sassy half dozen Latin dance styles that came packed with plenty of sensual heat.  Flaunting knock-out sequined costumes designed Nina G., the women in the company made sultry soar while their male counterparts wrapped machismo in a thick layer of sophistication.  Adam Houston and Analysse Vance picture perfect Bolero highlighted the exceptional individual artistry dancers bring to a performance.  The kind that always guarantees delight.

Something of the transformational arrived with Jon Rua’s namuH, a dance signifying the power and importance of love at its most basic and pure.  Rua’s video explanation of his personal background and the trajectory of his career from street dancer to choreographer ideally framed the dance that followed.  The word “Human” spelled backward, namuH feels as if it has one foot in the present day and one in the future.  Bjork and Stateless’s music draw an intense landscape.  Rugged and difficult.  Coupled with neutral, utilitarian costumes worn by the dancers and you sense a sterile almost bleak world.  The energy and magnetism come from the dance and the dancers who, despite any obstacle or hardship, invariably end up leaning on each other to keep on keeping on. 

The music, the way the dance unfolds, the unorthodox movements whose origins clearly derive from the grit of urban streets, all draw you in and leave you captivated.  As rewarding as the choreography itself is, the company’s dancers give it life by fully internalizing its precepts and projecting its message so beautifully.   

This is about as far away from jazz dance as you can get, but namuH’s central theme of cohesion and co-dependence; as well as the way it helps us see the latent generosity in all of us, make it an ideal match for this venerable dance company that can shape shift so elegantly.

Excerpts of Ronen Koresh’s 2015 Crossing/Lines preceded the night’s finale and final world premiere, Dumb Luck!, choreographed by Mr. Blackstone.   A salute to the country’s upcoming 250 anniversary and an intentional lighthearted salve to our erratic times, Dumb Luck!, with its nautical pastiche and post-war verve, is a happy escape to nostalgia.  Nina G.’s period sailor outfits take you right back to the grand old days of splashy Hollywood musicals.  Coasting on jazz gold via the sounds of The Nate King Cole trio, the Manhattan Transfer, and Big Bad Voodoo Daddy, dancers cavort while maintaining tight but jaunty dance formations.

A very fine effort, strengthening the dance’s core character would make it more even more distinctive.  

Whetting the appetite for more is what Dumb Luck! and the rest of the dances making up Ignite the Soul’s program do all too well.  Placing those expectation reveries about their next stage outing on high boil once again.

Ignite the Soul

Giordano Dance Chicago

April 10-11, 2026

Venue: The Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL  60601

For more information about Giordano Dance Chicago:  https://www.giordanodance.org

This review is proudly shared with our friends at www.TheatreInChicago.com. 

Dance performances can often be moving events but rarely do they hold the density, breadth and depth of emotions Giordano Dance Chicago’s (GDC) Spring engagement encompassed Friday night at the Harris Theater.  Part tribute, part commemoration of a milestone, and a total celebration of life, Soaring: Life, Light and Legacy spanned the gamut of all the things that can be interpreted more eloquently through the beauty of the arts.

Nan Giordano, celebrating her 40^th year at the helm of the dance company her father, Gus, created 62 years ago, lost her son and only child Keenan Giordano Casey suddenly and unexpectedly last year.  Each of the six dances performed in the Spring lineup touched on, either directly or tangentially, an aspect relating to these two events.  The skill in which GDC accomplished this feat makes the title given to the program a quiet touch of genius.

Opening with the first public performance of Sana, a work created from the verdant and sometimes ground shifting imagination of Al Blackstone, the dance centers on the notion of healing by striking notes reverberating with lightness and possibility.  Strains of calypso could be detected in percussionist’s Stahv Danker’s animated original score.  That same airiness and sense of optimism could also be found in the expectancy shining through the dancers’ movements and in the understated vibrancy of Devert Monet Hickman’s costume designs. They all coalesced to telegraph a message of hope.  It’s not unusual for a work’s newness to expose areas that could benefit from a bit more honing.  And it’s clear that once that sharpening occurs with Sana, its palliative message will ring with even greater resonance.

Some brand-new works though arrive in the world perfectly and 333 certainly counts as one of them.  A solo piece designed specifically for GDC principal dancer Erina Ueda by Ms. Giordano and GDC Associate Artistic Director, Cesar G. Salinas, it is quite simply a mesmerizing tour de force.  Dance can often be summed up as a combination of three parts.  Music, choreographic design, and execution. Here they are in a ravishingly flawless balance.

The rawness of life is something we often prefer to deny, despite its centrality to our very being and existence. Representing angel numbers that connect Ms. Giordano, her son Keenan and her father together, 333 embraces it, glorifies it and opens itself to its power.  Danced to the timeless and near magical appeal of Otis Redding’s signature rendition of Try a Little Tenderness, 333 simmers, explodes and stews in the vicissitudes of life.  I can’t imagine anyone being a better vessel for translating the impact of its mysteries than Ueda, whose expressive range seems boundless and appears to expand with the arrival of each new season.

It also proved the ideal prelude to Soaring, the dance tribute created for her son by Giordano, Salinas and the GDC dancers themselves.

A film introducing the audience to who and the type of person Keenan Casey was, and exposing the respect and love mother and son shared, preceded the dance itself, creating an atmosphere of compassionate awe.  Dancers in Nina G.’s costumes of wispy white then swept from both wings of the stage; ethereal and yet still grounded in the gravity of earthly cares.  Solemnity and exaltation danced in harmony as the entire company was later joined by 25 Keebirds, friends of Giordano’s son, Keenan.  Keebird was the sobriquet they used when referring to their fallen comrade.  Also dressed in white, feet bare and carrying lighted symbols of renewal they walked through the aisles and up to the stage in stoic silence while Antonio Pinto’s music filled the hall.  Striking, poignant and deeply touching, it symbolizes how wrenching great loss can be and how it can be willed into the spiritually restorative.

After a brief pause to absorb Soaring’s impact, lightning struck in the form of, what looked like to these eyes, a totally revamped version of Red and Black.  Created last year by Ray Leeper, the sultry jazz-soaked wonder, already sizzling with energy in its original format, seemed even more kinetic, electrified and polished to a blinding gleam. Opening to an extended version of an obscure Eartha Kitt jewel, female dancers in clinging gowns with long slits let it be known it’s a woman’s world.  One misstep and you’re likely to get scorched, bringing a whole new dimension to the term “deliciously provocative”.  In a program that covered a range of dance styles, this was vintage Giordano in peak form.  Confident, irrepressible, dazzling, athletic, brash. Bonji Duma’s musical expertise helped pump up the adrenalin to power it all.  Along with Ms. Kitt’s vocal brilliance, the music of Moloko, Scott Bradlee’s Postmodern Jukebox, Michael Bublé and Club De Belugas kept this rocket zooming.

Respite came with the visually enchanting Taal, an East Indian concept piece choreographed by Ms. Giordano in 2001.  The name derives from the traditional rhythmic pattern found in classical Indian music, brought to life here with works from Anuradha, Suno A.R. Rahman and S. Jhaia.   Asifa Imran’s graceful and culturally reflective costumes did their part to transport us to another place and time.  An important part of classical Indian dance, hand gestures are used to express a wide range of emotions and were incorporated extensively within Taal.  The effect was to fuse the identities of two dance cultures to create a unique artistic hybrid and something refreshingly new.

Following another short film shedding invaluable insight into what it takes to make a successful dance company thrive and the passion, talent and grit required to be a dancer within it; the program closed with Pyrokinesis. Living up to everything its name implies, this little stick of dynamite in the company’s repertoire, developed by Christopher Huggins in 2007, was a delight to see again. Dressed once again in red and black, this time sleekly styled by Branimira Ivanova, dancers showed what it means to be members of the most elite jazz dance company in the country, if not the world.  The dynamism found in Ray Leeper’s earlier piece simply takes a different form here, but the infectiousness of its joy, verve and vitality were just as powerful, energizing and uplifting.  A fitting close to a night commemorating life, light and transformational legacy.

Soaring: Life, Light and Legacy

Giordano Dance Chicago

April 4-5, 2025

Harris Theater for Music and Dance

205 E. Randolph Street

Chicago, IL   60601

*This review can also be found at Theater in Chicago.