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24-749: Hubbard Street Dance Chicago grew out of the Lou Conte Dance Studio , when in 1977 several aspiring young artists approached dance teacher/choreographer Lou Conte to teach tap classes. At the time, the studio was located at the corner of LaSalle Street and Hubbard Street, which is how the company acquired its name. Conte served as director for 23 years, during which he developed relationships with choreographers including Lynne Taylor-Corbett , Margo Sappington , Daniel Ezralow , Nacho Duato , Jirí Kylián , and Twyla Tharp , all of whom helped shape Hubbard Street's repertoire. In 2000, Jim Vincent became Artistic Director. Vincent worked to further expand

48-730: A pianist for ballet classes. She left Colorado for New York City at the age of 17, where she initially found work as an usher at the New York State Theater (renamed the David H. Koch Theater in 2011), home of the New York City Ballet, shortly before joining the Alvin Ailey American Dance Theater , where later in her choreographic career as part of the company's Women's Choreography Initiative, she would create her ballet Prayers from

72-566: A repertory company, representing numerous choreographers and styles. Hubbard Street has commissioned and presented almost 200 new and acquired dance works throughout its history. Under the direction of the late Claire Bataille , one of the original four Hubbard Street dancers, Lou Conte Dance Studio (LCDS) offered weekly classes in ballet , jazz , modern , tap , African , hip hop , African drums, musical theater , yoga , Pilates , and Zumba at all levels from basic to professional, as well as workshops and master classes. LCDS also maintained

96-560: A scholarship program for advanced dancers. LCDS closed in the spring of 2020. Since 2000, Hubbard Street has established partnerships with the Chicago Symphony Orchestra , presenting new and existing choreography set to orchestral music performed by the symphony; the Art Institute of Chicago ; Illinois Institute of Technology School of Architecture; and Rush University Medical Center , which helped establish

120-821: A theater for ballet and dance at Lincoln Center in the Lincoln Square neighborhood of Manhattan in New York City . Originally named the New York State Theater , the venue has been home to the New York City Ballet since its opening in 1964, the secondary venue for the American Ballet Theatre in the fall, and served as home to the New York City Opera from 1964 to 2011. The theater occupies

144-822: Is clearly presented by having the live band elevated on stage with the dancers. The intermissions of the piece are even choreographed balletically and musically. The Red Clay Ramblers play interludes with active audience and dancer participation. Carolina Ballet received rave reviews for its revival of Carolina Jamboree in 2013, both at the Raleigh Memorial Auditorium and at the Durham Performing Arts Center (DPAC). The ballet choreography in Carolina Jamboree evokes lively folk dancing shown through several solos, pas de deuxs, and group dances. The "Red Rocking Chair" female solo

168-467: Is deeply moving in its depiction of a mother who has lost her newborn. Lynne's Taylor Corbett's work in Carolina Jamboree carries a strong sense of nationalism towards American dance. The ballet is split into three acts. The first: "Appalachia Stories," the second: "The Mystery of Nell Cropsey," and the third: "Fiddlesticks." All three sections touch on the hardships of the Great Depression and

192-467: Is the recipient of the 2008 Joseph A. Callaway Award for excellence in stage directing and choreography. Her son, Shaun Taylor-Corbett , appeared in the children's series Hi-5 which aired on the Learning Channel . He has appeared in the off-Broadway show Altar Boyz , and in the production of In The Heights on Broadway. David H. Koch Theater The David H. Koch Theater is

216-544: The American Ballet Theatre , which premiered the work in Miami in January 1982. Lynne Taylor-Corbett was nominated for the 2000 Tony Award , Best Direction of a Musical and Best Choreography for the musical Swing! and also received a 2000 Drama Desk Award nomination for Outstanding Choreography. Her recent stage work includes both directing and choreographing the musical My Vaudeville Man! , which ran off-Broadway at

240-471: The 1980s, including from Mikhail Baryshnikov during his tenure as artistic director at American Ballet Theatre . She works in theatre and film (most notably, creating the choreography for the 1984 dance classic Footloose . ), and also choreographs for dance companies, both ballet and modern, and is the principal guest choreographer for Carolina Ballet . She choreographed the dance Great Galloping Gottschalk (set to music of Louis Moreau Gottschalk ) for

264-685: The Carolina Ballet dancers. Lynne has also familiarized herself with the North Carolina Triangle region. In North Carolina, Lynne is most recognized for her lively crowd pleaser "Carolina Jamboree" featuring music by the Red Clay Ramblers, (a North Carolinian blue grass band). During the live performances of Carolina Jamboree, The Red Clay Ramblers are integrated with the professional dancers. Lynne wanted local music to be soul of her work in Carolina Jamboree and this

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288-638: The Edge , inspired by her experiences and observations while touring with the Ailey company, particularly of performing in the Middle East and Africa following the Six-Day Arab-Israeli War in 1967. She also danced and choreographed for a small ensemble, The Dance Theatre Collection, where her work garnered enough attention to draw increasingly prestigious commissions through the 1970s and into

312-541: The Parkinson's Project, using contemporary dance techniques to improve the mobility and quality of life for participants. Lynne Taylor-Corbett Lynne Taylor-Corbett is a choreographer, director, lyricist, and composer. She was born in Denver, Colorado. Lynne Taylor-Corbett grew up in the Denver, Colorado area, and attended Littleton High school. She gained her first exposure to dance through her mother,

336-621: The State transferred ownership of the theater to the City of New York. The City leases the theater to Lincoln Center for the Performing Arts, Inc., which subleases it to City Center of Music and Drama, Inc. (CCMD). The present corporation of CCMD (originally affiliated with New York City Center on 55th Street, but now a separate entity) continues to manage the theater today. Along with the opera and ballet companies, another early tenant of

360-479: The York Theatre Company from November 2008 through January 2009. She received a Drama Desk Award nomination for Outstanding Choreography with her collaborator, Shonn Wiley, for My Vaudeville Man!. Lynne Taylor Corbett has created some of her most inspiring choreography on Carolina Ballet. She has worked with the company extensively for 10 years and has developed deep knowledge of the strengths of

384-575: The company's programming and repertoire. He introduced initiatives that have become staples of Hubbard Street's programming, including the "Inside/Out" Choreography Workshop, during which Hubbard Street dancers create original choreography for their peers; and the Choreographic Fellowship, which identifies and develops emerging choreographers from within the company. Dancers Alejandro Cerrudo and Robyn Mineko Williams, as well as Rehearsal Director Terence Marling have all developed works for

408-720: The company. Dancer Penny Saunders choreographed a work for Hubbard Street 2 (the second company) through Hubbard Street's annual National Choreographic Competition. In 2009, then Associate Artistic Director Glenn Edgerton became Artistic Director. Soon after, he named Alejandro Cerrudo Hubbard Street's first Resident Choreographer. Cerrudo has created ten works for the company. Since becoming Artistic Director, Edgerton has secured new commissions and repertoire hits by master and notable choreographers including Jirí Kylián , Nacho Duato , William Forsythe , Twyla Tharp , Ohad Naharin , Victor Quijada , Aszure Barton , and Sharon Eyal . In 2021, former company dancer Linda-Denise Fisher-Harrell

432-448: The joys of overcoming such hard times. Carolina Jamboree is a true testament to Lynne's Taylor-Corbett's talent. The piece showcases dancers abilities both technically and emotionally and it is a joy to view as an audience member. https://web.archive.org/web/20140225023602/http://www.newsobserver.com/2013/04/20/2836399/review-fancy-free-and-carolina.html The Stage Directors and Choreographers Society announced that Lynne Taylor-Corbett

456-585: The next ten years to renovate the theater and provide an operating and maintenance endowment. The facility became the David H. Koch Theater at the New York City Ballet Winter gala, November 25 of that year. The theater is to bear his name for at least fifty years, after which it may be renamed; the Koch family retains the right of first refusal for any renaming. Some people continue to refer to

480-454: The plan replaced and reconfigured all seats and carpeting. The reconfiguration created two aisles in the orchestra level, which previously featured continental-style seating, with no center aisles. It also upgraded restrooms to make them ADA compliant. Work backstage included a new stage lighting system, expansion of the orchestra pit, and a mechanical lift in the pit floor allowing it to be raised to stage level when needed. The lobby areas of

504-452: The south side of the main plaza of Lincoln Center, opposite David Geffen Hall near 63rd Street and Columbus Avenue . The New York State Theater was built with funds from the State of New York as part of New York State's cultural participation in the 1964–1965 World's Fair . The theater was designed by architects Philip Johnson and John Burgee , opened on April 23, 1964. After the Fair,

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528-470: The theater by its original name because of the controversial political influencing of David and Charles Koch . The theater seats 2,586 and features broad seating on the orchestra level, four main “Rings” (balconies) and a small Fifth Ring, faced with jewel-like lights and a large spherical chandelier in the center of the gold latticed ceiling. JCJ Architecture of New York City designed renovations with Schuler Shook as theater consultants. In patron areas,

552-517: The theater was the now defunct Music Theater of Lincoln Center whose president was composer Richard Rodgers . In the mid 1960s, the company produced fully staged revivals of classic Broadway musicals. These included The King and I ; Carousel (with original star, John Raitt ); Annie Get Your Gun (revised in 1966 by Irving Berlin for its original star, Ethel Merman ); Show Boat ; and South Pacific . In July 2008, oil-and-gas billionaire David H. Koch pledged to provide $ 100 million over

576-490: Was named the fourth Artistic Director of Hubbard Street Dance Chicago. Season 44: RE/CHARGE marks her debut season as the artistic leader of the organization, with the goal of continuing to diversify the company’s repertoire and ensemble while building on the incredible legacy and reputation that HSDC has already established. Today, the main company consists of 14 dancers. While many contemporary dance companies are single-choreographer organizations, Hubbard Street has always been

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