The Auditorium Theatre’s Dance Season: A Strategic Balance of Tradition and Innovation

The Auditorium Theatre’s fall lineup stands out in the dance scene, thanks largely to Marisa Santiago’s efforts. As the producing director of artistic programming, Santiago plays a crucial role in curating the dance offerings at the historic venue. Among the notable events is the Dance Theatre of Harlem’s return to Chicago after a decade. The almost 60-year-old, historically Black ballet company will perform for one night in October.

November will see the Chicago debut of Ballets Jazz Montréal. They will present ‘Dance Me,’ a celebration of Leonard Cohen’s music, which is concluding its tour. The Auditorium has executed numerous strategic programming decisions over the past year. This includes hosting the Martha Graham Dance Company during its centennial, the return of Parsons Dance Company, and a performance by Tiler Peck and Friends. Santiago regards Tiler Peck’s show as one of the best featured on the Auditorium stage.

The Auditorium has a longstanding partnership with the Alvin Ailey American Dance Theater. This collaboration has been a cornerstone of its programming for over 50 years. The upcoming season celebrates North American dance, featuring Dance Theatre of Harlem, Ballets Jazz, and Ailey, alongside the returns of Les Ballets Trockadero de Monte Carlo and Ballet Folklorico de Mexico in the spring.

Santiago’s programming decisions reflect her understanding of the Auditorium’s audience and historical context. While presenting dance can be risky due to smaller audiences and higher costs, Santiago remains committed. She acknowledges the challenge posed by the Joffrey Ballet, which complicates the Auditorium’s ballet programming. The Joffrey, a major player in Chicago’s dance scene, moved its Chicago performances from the Lyric Opera House to the Auditorium in 1989 and stayed after relocating permanently in 1995.

In 2017, the Joffrey planned to return to the Lyric, which offers a larger stage and more backstage space. Although their transition was delayed by the pandemic, it eventually completed in 2021, leaving a gap for the Auditorium to fill. This period saw changes led by CEO Rich Regan, who aimed to diversify the venue’s offerings. Santiago’s strategic approach has retained dance programming, assisted by initiatives like the ‘curtain cap’ system which narrows the venue’s seating for more intimate experiences. This strategy helps maximize ticket sales and supports sellouts.

To bolster its offerings, the Auditorium launched Dance Partners, a donor affinity group instrumental in bringing ‘Dance Me’ to Chicago. The group traveled with Santiago to Montreal for a studio visit with Ballets Jazz, affirming Chicago’s need for the production. However, Santiago’s approach has shifted away from focusing exclusively on local dance companies. The Auditorium’s ‘Made in Chicago’ series is no longer active, but local groups like Trinity Irish Dance Company and Ensemble Español Spanish Dance Theater have been included in recent seasons.

Despite this shift, Santiago continues to serve as vice president of the board for See Chicago Dance. Her role balances artistic merit with audience interest, acknowledging the resource challenges faced by local dance companies. Deeply Rooted Dance Theater stands as a notable exception, establishing the Auditorium as its home theater for annual performances. Santiago observes their growing recognition akin to Alvin Ailey’s.

Reflecting on the strategic programming decisions, Santiago emphasizes the importance of maintaining the Auditorium’s historic connection to dance. Despite the challenges, she remains dedicated to preserving dance performances as part of the venue’s legacy.