What's Happening?
Marisa Santiago, the producing director of artistic programming for Chicago's Auditorium Theatre, is being recognized for her role in curating a notable dance season. Her efforts have led to the return of the Dance Theatre of Harlem to Chicago after a decade,
scheduled for a single performance in October. Additionally, Ballets Jazz Montréal will make its Chicago debut in November with its 'Dance Me' program, celebrating Leonard Cohen's music. Santiago's programming strategy emphasizes North American dance, including performances by Les Ballets Trockadero de Monte Carlo and Ballet Folklorico de Mexico in the spring. She has also implemented a 'curtain cap' system to create a more intimate setting for dance performances by draping off upper balconies, aiming to enhance the audience experience and increase the perception of sold-out shows.
Why It's Important?
Marisa Santiago's strategic programming at the Auditorium Theatre is vital for sustaining and enriching Chicago's cultural landscape, particularly in the performing arts. By bringing diverse and renowned dance companies to the city, she not only provides high-quality entertainment but also contributes to the artistic education and exposure of the local community. The return of companies like Dance Theatre of Harlem and the debut of Ballets Jazz Montréal elevate Chicago's status as a significant hub for dance. Her innovative 'curtain cap' system addresses the unique challenges of presenting dance in a large venue, making performances more accessible and appealing to audiences. This approach helps ensure the financial viability of dance programming, which can often be a calculated risk due to smaller audience sizes and high production costs, thereby preserving a crucial art form for future generations.
What's Next?
The Auditorium Theatre's upcoming dance season, curated by Marisa Santiago, will unfold with performances by Dance Theatre of Harlem in October and Ballets Jazz Montréal in November. Audiences can anticipate further announcements regarding the spring lineup, which will include Les Ballets Trockadero de Monte Carlo and Ballet Folklorico de Mexico. The effectiveness of the 'curtain cap' system will continue to be evaluated based on audience feedback and ticket sales, potentially influencing future venue configurations for dance and other performances. Santiago's ongoing efforts will likely focus on balancing artistic excellence with financial sustainability, continuing to attract diverse audiences, and exploring new partnerships to maintain the Auditorium Theatre's prominence in the dance world.
Beyond the Headlines
Marisa Santiago's work at the Auditorium Theatre highlights the delicate balance between artistic vision and practical considerations in the performing arts. Her decision to focus on North American dance and her strategic use of the 'curtain cap' system reflect a deep understanding of both the art form and audience engagement. This approach goes beyond simply booking acts; it involves cultivating a unique aesthetic for the venue and ensuring its long-term viability. The emphasis on making dance accessible and creating an intimate experience in a grand theater speaks to broader trends in cultural institutions seeking to connect with contemporary audiences while honoring historical legacies. Her efforts contribute to the ongoing dialogue about how cultural institutions can adapt and thrive in a changing entertainment landscape.
