Elements Presents a Special Preview Performance of Atlantis at Studio5 in Evanston by Joseph Caruana

Atlantis Rising Elements Ballet

Elements Ballet is excited to announce a special a preview performance of their new work-in-development, Atlantis, titled Atlantis Rising, Saturday, August 24 at Studio5 in Evanston. This concert will present a first draft of the choreography for the original ballet in-full by Directors Mike Gosney and Joseph Caruana with Artistic Associate Victoria Vargas, as well as encore showings of four films from the company’s 2018 production Elements & Chill. The Elements Board of Directors will also host a special post-show champagne reception for VIPs and Season Subscribers.



In the summer of 2006, during the first year of Elements Contemporary Ballet’s operation, Mike Gosney and Joseph Caruana (the co-directors of Elements) created an original concept for a story ballet. Inspired while walking through an exhibit at the Chicago Botanic Gardens titled Garden of Atlantis, they imagined a new full-length fantasy ballet based on the myth of Atlantis. Their story would involve an evil queen, a priestess, and a slave, as well as an ending that through creative stagecraft would portray the great flood that famously destroyed the mythical island. The prospect of creating the first ever ballet to interpret the Atlantis myth seemed incredibly exciting to Gosney and Caruana at the time, but it was clear to them that to do the story justice they would need to build larger resources and audience for their then-budding dance company (Elements was just in its first year of operation). Now, twelve years later, the Elements directors feel the company has grown substantially and the time is right to bring their vision to life and begin production on Atlantis.



A project of such large proportions has taken much time to develop. While Gosney and Caruana have been working on Atlantis off and on over the past ten years – some experimental choreography was developed in 2012, as well as major work to write the libretto and have the artists begin the storyboard – they had not devoted much of Elements’ time and resources to its creation until 2017, when the company became primarily devoted to developing this work for the stage. Since then, Elements has workshopped material for the ballet through the creation of short films inspired by the libretto and gala showings of works-in-progress. For this preview performance, a loose structure of the ballet’s choreography will exist, without costuming, set, and creature effects, although artwork and accompanying narrative text will be projected. The ballet’s world premiere date, which will incorporate revised choreography and full production elements, has been set for summer 2020.

Atlantis will be a multi-media production. Outside artists already working on the project’s initial development thus far have been Chloe Feldman Emissen, a watercolor artist in Massachusetts who has been creating artwork and a storyboard for the production since 2011, and Miata Boayue, a fiction and fantasy writer who is currently working on a companion novel for the ballet inspired by Gosney and Caruana’s libretto. Joining the team for the August premiere at Studio5 will be local sketch artist MJ Ernst and lighting designer Joshua Paul Weckesser from Bread and Roses Productions.

This preview performance will also be an opportunity for the audience to give feedback on the new work. By holding a post-show artist reception with audience members and including program surveys, the creative team hopes to be able to gain insight into the audience’s reaction to the work and what elements of the production and story may or may not be effective.



The myth of Atlantis is one that has had a major impact on literature, film, and television, but has not yet inspired the creation of a popular ballet. Drawing inspiration from various sources such as Plato, Edgar Cayce, and new-age pop-culture speculations, and building original characters and a complex story arc, Gosney and Caruana have developed a libretto that is part fairytale and part epic drama.

The ballet’s story takes place during the final days before the fall of the mythical ancient empire Atlantis. The Atlanteans, here a matriarchal society powered by slave labor and ruled by a vicious queen, are conquerors – though they have just been harshly defeated in battle by Greece as well as depleted their natural resources to the point of near starvation. Upon the finding of a giant, mysterious crystal deep within the Earth that is discovered to be usable as both a super-weapon and power source, Atlantis raises its army once again, intent on overtaking the still-developing western world in order to to save its people. However, the queen’s cruelty to her lessors, mistreatment of the natural world, and defiance in light of a foreboding prophecy ultimately twist with the hubris of a rural religious sect and a government filled with conspiring players to bring about the destruction of the greatest civilization the world has ever known.

A tale with a strong relevance to contemporary times, Atlantis weaves together grand storytelling with intimate relationships as the story’s central figures battle with their desire for love, power, and freedom, and decide what they are willing to sacrifice for what they hope to achieve.

Atlantis Rising Elements Ballet



Atlantis will perform to a recording of Mythodea — Music for the NASA Mission: 2001 Mars Odyssey, a 1993 choral symphony by Greek electronic composer and artist Vangelis. Originally premiered in 1993, Mythodea was published in 2001 as well as played and recorded in concert at the Temple of Zeus in Athens, Greece, by Vangelis with the London Metropolitan Orchestra, sopranos Kathleen Battle and Jessye Norman, and the chorus of the Greek National Opera. The record was officially released to coincide with the 2001 Mars Odyssey spacecraft entering the orbit of planet Mars.

“I made up the name Mythodea from the words myth and ode. And I felt in it a kind of shared or common path with NASA's current exploration of the planet [Mars]. Whatever we use as a key — music, mythology, science, mathematics, astronomy — we are all working to decode the mystery of creation, searching for our deepest roots.

-          Vangelis on Mythodea

This music was chosen as the score for Atlantis not only because of its grand, cinematic sound, but also because of its serendipitous connections to both ancient Greek mythology and contemporary technological achievement. Not to mention, to quote Gosney and Caruana, “The story for Atlantis can be found in this music!.” Meaning, when they came upon the music part-way through their development of the libretto, the creators found that what they had written thus far matched certain movements of Mythodea perfectly, and what was yet-to-be written was very much inspired by other movements.

Tickets for Atlantis Rising are $25/$25 in advance and $30/$35 at-door and VIP tickets which will include the Post-Show Reception are $50. Tickets can be purchased at https://atlantisrising.brownpapertickets.com/

Studio5 is located at Dance Center Evanston, 1938 Dempster Street, Evanston, IL 60202 (map). Learn more about Studio5 at www.studio5.dance.

Article by Sarah Perry Wilson.

Dancing in the Tactile Realm, a review of SOAKED | SURFACE by Sarah Perry Wilson by Joseph Caruana

Article by Sarah Perry Wilson, reviewing Elements Ballet’s performance of SOAKED | SURFACE, Friday, February 15, 2019 at Hamlin Park Fieldhouse Theatre.

There is something about an Elements Ballet performance that makes me feel like a dancer. Not just wish I was a dancer, but actually feel like one, from the first steps of choreography until the company takes a bow.

Watching Elements, there is something very evocative of everyday movements, feelings, expressions, even tasks. Human experiences, from the mundane to the profound, are stripped down to their essences by the choreographers, then performed with authenticity and heart by the dancers. While maintaining the poignancy of classical ballet, Elements brings dance into the tactile realm that all people inhabit, not just the dancers among us. Their movements appear natural and expressive – usually graceful, sometimes purposely not so – and so relatable that someone like me is momentarily transported into the more capable bodies of others.

How can a performance actually make an audience member feel like an artist? After seeing the company’s recent improvised performance, SOAKED | SURFACE, I have a theory about what is going on, and it has everything to do with improvisation.

Elements has a longstanding tradition of incorporating guided improvisation sessions into its rehearsal process, referred to as Water Class in the language of the company. Emulating the changing and flowing qualities of water, this practice encourages the company’s dancers to explore a fuller range of movement than any single dance tradition typically incorporates. Co-Directors Mike Gosney and Joseph Caruana encourage the dancers to move beyond grace and beauty, translating whatever feelings and experiences they are carrying with them into movement. Aspects of this improvised choreography make their way into Elements’ original repertory, and the improvised origin of movement is what allows people like me to see echoes of our own lives and bodies in the work.

With two performances at Chicago’s Hamlin Park Fieldhouse Theater, SOAKED | SURFACE was the company’s first-ever fully improvised, evening-length production. It was an important milestone for Elements: in conducting research prior to marketing the performance, Elements was not able to find any examples of similar programs that have taken place in Chicago, or even in the U.S.

The title of the program makes reference to the presence of water – or improvisation, as defined by the company – as well as the thematic content of the production, loosely structured based on the idea of dancers traversing different landscapes across Earth’s surface. Pausing to imagine the sensations involved in crossing arid deserts, craggy mountains, lush jungles and crowded underground caves, one can almost feel the changing degrees of difficulty and ease, comfort and struggle. In this sense, the theme was perfect for an improvised dance performance, eliciting all kinds of solo and group movement from the dancers and reactions from the audience.

To add context to the experience, Artistic Director Mike Gosney spoke briefly before the performance, explaining how the company uses improvisation in rehearsals to encourage dancers’ self-expression, fluidity of motion, creativity, and choreographic skills. He also explained several improvisation games that he uses in rehearsals, and encouraged audience members to watch out for them in SOAKED | SURFACE. For me, having something to look out for helped anchor my attention throughout the performance and added a game-like element to the evening.

The production featured the entire company of dancers and apprentices improvising movement to a live score performed by the transcendent vocalist, composer and performance artist ALEXA GRÆ. In keeping with the theme of the evening, the music was also entirely improvised, supporting the natural development of two distinct and unique performances. ALEXA’s score incorporated electronic music and ambient sound, as well as vocals and keyboards. Due to the nature of the performance, lighting was also improvised in the moment. Both the sound and lighting were essential to the experience of the program, and assumed a dancer-like role themselves as they interacted with the Elements artists in real-time.

ALEXA GRÆ’s live-improvised score was compelling, varied and rich with rhythm and texture, helping to conjure each landscape and guide the dancers’ movement. ALEXA and the dancers played well off of each other, remaining highly sensitive to one another’s work throughout the 90-minute performance. This was quite an accomplishment, as the performance did not include an intermission and demanded keen attention and awareness from all of the artists involved.

Overall, throughout the performance, there was a feeling among audience members that we were experiencing something truly unique and new. The children in attendance were particularly excited by the noises they heard – many vocalized in imitation of ALEXA’s own vocalizations and electronic sounds, and the context of the performance made this completely appropriate. They actually became participants in creating the live-improvised score, adding to the spirit of SOAKED | SURFACE.

At the end of the evening, audiences responded with enthusiasm and admiration for all of the improvising performers, and mingled with the artists to ask questions about the process of creating the production. They were especially curious about ALEXA’s performance, the equipment and techniques used, and the inspiration needed to create a musical score in the moment. The dancers I spoke with and ALEXA felt that the second of the two performances was the strongest, noting that the first evening had helped them develop a sense of appropriate timing for each landscape section. They also gained confidence during the first show, which was an entirely new performing experience for them.

Based on the success of SOAKED | SURFACE, Elements plans to continue incorporating improvised performances into its programming, sharing in a uniquely Chicagoan tradition common to the city’s theatre and comedy offerings. Its directors look forward to their next opportunity to work with ALEXA GRÆ, now a frequent and well-suited collaborator who shares Elements’ propensity for artistic risk-taking.

Personally, I look forward to my next opportunity to feel like a dancer for a day.

Photographs of SOAKED | SURFACE by Victor Hilitski. Find Victor on Instagram and Facebook.

ARTISTS WANTED - Collaborate and share your work! by Joseph Caruana

Elements Ballet is seeking artists of all disciplines to exhibit their work at our annual fundraising gala in May. We are seeking works to display, perform, and wear at this event as well as pieces for donation to auction!

Artists of the following genres are encouraged submit their work for consideration, but all disciplines will be considered: performing artists, fashion designers, visual artists, photographers, painters, sculptors, musicians, composers, writers, playwrights, etc.

Please note that the work you create for the event should reflect the theme, In the Garden of Atlantis, and present your interpretation of this. All artists who are invited to collaborate for this event will receive complimentary admission to the gala, top billing for the event, and be mentioned in all promotional materials.

To apply, submit your CV and a portfolio of your past work, and a draft of the art you would like to present to joseph@elementsballet.org by April 8th, 2019.

For tickets and more info on the event, visit https://www.eventbrite.com/e/in-the-garden-of-atlantis-tickets-55616386108


Beneath the Surface of SOAKED by Joseph Caruana

Director Mike Gosney and vocal and performing artist ALEXA GRÆ break down the process of creating Chicago’s first fully improvised ballet

By Courtney Streeter

Vocal and performing artist ALEXA GRÆ

Vocal and performing artist ALEXA GRÆ

Walking into a dance studio is an ethereal experience, music electrifies the air, dancers adorn the space – draped over barres, moving across the room with impossible ease, stretching under large, paneled mirrors, and despite the lingering scent of muscle ointment, one cannot help but feel that they have entered a sacred place. All of this is what greets me when I arrive at Gus Giordano Dance School to discuss Elements Ballet’s upcoming project, SOAKED | SURFACE. SOAKED | SURFACE is currently been promoted as a full-length, entirely improvised ballet – the first of its kind; the buzz surrounding this performance is energetic and shrouded in mystery. Many are wondering what will the movement be like, will there be a plot, or simply how this show can even work? Elements Ballet, long lauded for its improvisation technique, has previously presented small improvised works, but this is the first time any contemporary ballet company will be presenting an evening-length ballet in which all movement is completely improvised. If any company is prepared for such an undertaking, it is Elements, for whom improvising is a daily practice.

How do Artistic Director, Mike Gosney and his dancers plan to tackle a challenge that athletically and aesthetically demanding? I sat down to catch up with Gosney and accomplished composer and vocal and performance artist, ALEXA GRÆ, who will be providing the live, improvised music for the performance, to unravel the enigma behind SOAKED | SURFACE.

: How would you describe this production?
MG: It’s risky, it’s magical. Dancers will be telling some kind of story, or allowing some sort of story to happen in front of a live audience with live, improvised music. Even the lighting will be improvised, so it is tough to answer that question.

CS: Improvisation is a pillar at Elements Ballet – how did that start and what makes it so important to you and your dancers?
MG: It started right off the bat. It was one of the reasons I started the company, actually. I wanted to keep these dancers in Chicago, my favorite city. They are all so special and unique, I wanted to give them a place they feel comfortable to explore. Even for those who are less comfortable, feeling like they don’t yet know how to improvise, I felt like [astrology] was a good system to pull them out and give them that courage. We base everything we do in the classical steps, and I need those steps to evolve. I have my own idea of how those steps and patterns evolve, even how the dancer’s bodies can evolve, but what could we be missing out on if everybody is not dancing or experimenting?  It really is the mission of the company and goes hand in hand with what amazing athletes the dancers are.

CS: How did the idea for a full-length improvised ballet come in to being?
MG: It has always been an idea! In the company we have Water Class, our improvisation, as a way to warm up and to grow and I sit and watch that. I usually don’t have anyone sitting here with me, experiencing that with me. While I am watching all this magic happening, it became “How do we show this to an audience, this unexpected, crazy stuff that is happening?” We have built up to this at intensives and cocktail hour performances, but the timing is right now. Our dancers are so accomplished in this and so connected.

CS: How was watching Water Class today, Alexa?

AG: It was amazing. I am so attracted to dance and movement, but it is not my background, so when I get to come in the space, I am taking everything in. I’m super inspired. As a composer or a musician, I have movement always going on when I am writing, but getting to see it on a bunch of bodies is really great.

CS: Dancing won’t be the only improvised component in this production, what else will be improvised?
MG: Dancing, lighting and Alexa will be improvising the music live.
AG: I’m trying to wrap my brain around the logistics of the score that I will be providing and the fact that it will be continuous. I’m giving myself as much control as an improvised setting lets you. I get to try things that I would never do or have the opportunity to do in set performances. I also am reflecting back on all of the different inventory or language of all the different musical styles and genres to create pieces and moods to reflect about what’s happening on stage, or to butt up against it during the performance.

MG: I’m excited to work with Alexa too because they have such a strong classical background which is what we work through in improv and then evolve and move through classical steps or notes.

CS: What is the rehearsal process like for this production?
MG: We have a basic ballet class in the beginning to get the dancers’ muscles and bones in place so that their bodies respond to them the way that they need to and they have the widest range of motion possible and expand the possibilities of movement. Then we start off slowly with very simple improvisation dealing with literally one body part at a time, then it goes in to larger steps and movements. From there we go into more imaginative concepts, dealing with the space itself and beyond the space, which leads me to the idea of the piece being that we are traveling through the different terrains on the planet. Then the magic starts happening; everyone starts communicating with their bodies, touching, feeling, there are non-verbal conversations that happen. I also play improvisation games with them. I’m establishing these different games to keep us on a path for structure, shape, and for the dancer’s stamina. It helps keep the flow.
AG: This is the biggest project I have ever done with improvisation being the backbone of it. I will probably sit down with Mike’s current soundscape and set a timer to see what feels good to me and when to move on musically. I know that will change as soon as there are bodies in the room, but I am also aware that my stamina will be very different than the dancers. I’m trying to create a mood that will make them confident to step into the unknown and rely on the fact that this is a shared experience, that we are all in this together. It has the potential to be really godly and omnipotent. I like that, love that, but also, I don’t want all that responsibility. Hah.

CS: What genre of music do you anticipate pulling from for this?
AG: I’m going to try to go everywhere. I’m really excited to try to do some classical ideas with just the piano where it feels very balletic from a rehearsal, but also use classical pieces to really create a mood and a soundscape. I will use a lot of vocal techniques with some synthesizers. I am really interested in not being held to a style or genre knowing that these are things that I have in my tool belt to access, but not limit me.

CS: Are you planning on integrating any of the structure established by the games you use in rehearsal into the performance itself?
MG: Yes, the dancers need direction, and the audience also has to go through an experience. I am still gauging the peaks and the falls of it, but they need that journey. The games will essentially be the staging: this game will be this time at this terrain, and this one will be as we are moving through this terrain.

CS: You said the dancers will be going through terrains of the planet, how much of that will be visible to the audience? That is something that they can relate to and interpret in both the music and the dancing?
MG: My reasoning for doing that was to create a gentle structure for the dancers, that was my first thought. The inspiration came from Planet Earth – if it says BBC, I am watching it. I wasn’t expecting that the dancers would take it, it was more to be an arsenal in their tool belt. As I analyzed more and am watching the process now, it is less important to me that the dancers are going through that and more important for the audiences to have that in their program. I want the audience to have an opportunity to have some sort of imaginative experience too.
AG: This is exciting for me because you (Gosney) have given this great organization, but it can still change shape. I think the part that is going to be really cool is the idea of ‘Surface’ and interpreting that as literally our bodies instead of the planet. It’s all linked to the same place, but all the paths to get there could be different.

CS: Alexa, you have some dance background, how is that helping you through this process?
AG: I love to dance and I want to be y’all. Getting to see people who have a ton of language around movement sets off sound for me. It’s so enriching to take this in. I can go home and visualize myself doing these things, even though my body does not move like that. 

CS: Not only is this Chicago’s first, full length improvised ballet, but each night will be its own world premiere. What are the emotions surrounding that for you?
MG: I am super excited, just excited.
AG: There are two nights to attack this. I’m excited. I plan to give myself these little “landing points” that I can build from live, but I plan to challenge myself to do the exact opposite of what I created for the night before.

Feeling much more grounded in the world of improvisation, I took my leave excited from Elements’ rehearsal process and the upcoming show. It promises two nights of complete ingenuity, that those new to the dance world and seasoned professionals alike will be able to enjoy. SOAKED | SURFACE will be presented February 14th and 15th, 2019 at 7 PM at the Hamlin Park Fieldhouse Theatre.

To secure your tickets to this world-premiere event, please visit https://www.elementsballet.org/soaked-surface/

Elements Ballet Artistic Director Mike Gosney

Elements Ballet Artistic Director Mike Gosney

The Greater Possibilities of Movement by Joseph Caruana


Article by Kristen Finck, Student at Elements’ One-Day WATER Workshop, January 6, 2019

Coming from a predominately classical and technical background, I was excited by Elements Ballet’s offering of a WATER workshop. The workshop was something that I knew would push me to move in ways outside of my norm as well as educate and show me how much wider a range of dance vocabulary and creativity I, (as well as anyone with a instinctive brain and need for creativity within the walls of a dance studio) could produce. After leaving the space, I have come to realize that I was so used to confining my creativity and abilities within the studio that I was actually limiting greater possibilities of movement, artistry, and inspiration. Working with artistic director, Mike Gosney, I recognized just how infinite and boundless the possibilities of creativity and movement truly are. By confining the idea of one’s space and movement vocabulary, I was actually restricting myself to stay within boundaries instead of allowing myself to push the limits and explore outside of my comfort zone.

Personally, I’ve never been someone who’s been completely comfortable with improvisational movement. I’ve taken many classes, regardless, it’s always been something I could simply slide by on, not fully reaping the benefits or feeling confident about. For me, I have always struggled to create movement on the spot and to have it feel organic and natural (I tend to over analyze and over think and sometimes find it hard to shut my brain off and just let things happen). Therefore, the idea of a workshop focused on the WATER element was very appealing to me, as I knew it would be feel-good movement quality and would ultimately prove challenging to me as it would incorporate a large amount of improvisational dance. Elements didn’t disappoint.

From the get-go, Gosney broke down the process of improvisation in a way that made it very natural to go from overthinking every little movement, to slowly building movement, and finally expanding a movement vocabulary. Through the use of manipulating individual body parts, incorporating classical vocabulary, utilizing the space, levels, and the limitless possibilities of movement patterns, students were able to create natural, interesting movement by utilizing and connecting with others. The workshop culminated with a segment devoted to choreography. After learning and picking the details of each movement apart, each dancer was able to take what they had learned and experienced from the day and add in their own interpretations to the work. Thus, creating upwards of 20 different versions of the same baseline choreography. This was truly my favorite exploration as each dancer was given their own artistic freedom to enhance the choreography with their unique sense of timing, movement, & emotion to create a phrase completely different from every other body in the studio. From the beginning to the end of the workshop, you could feel (and see) the shift in everyone’s improvisational perspectives. Everyone was able to tap into their creativity and allow their movement to flow and become more natural. Whether you found the inspiration from the music, a peer, or somewhere within, Elements created a safe space to explore and grow as a student, dancer, and as an artist.

So what now? Personally, I learned a lot about myself through just one day of working and instruction from this company. As someone who is always looking to learn and enhance my dancing, I couldn’t have left more excited about everything I had learned and the education I had gained in just 6 hours. I am enthusiastic about the prospective of utilizing my arsenal of newfound tools in my professional dance career and future creative opportunities. Although I currently dance professionally, the fact that Elements was able to create a workshop that was fit for dancers and students of all ages and abilities from different technical and training backgrounds, that was both educational and inspirational for each person in the room is a testament to the caliber of their diligence, passion, and enthusiasm for creativity and for the success of each person who enters their studio spaces. In the future, I would highly recommend taking advantage of any future opportunity you may find yourself having with the artists of Elements Ballet as they will absolutely exceed all of your expectations.

Find out more about how you can participate in one of Elements’ upcoming One-Day Workshops and Intensive Training Program here

CIB  Kristen Finck Headshot 2018 by Frugoli-6680re 10x15in300ppi2-3.jpg

Photos of dancer Kristen Finck by Erishyll M Photography (upper image) and Tracey Frugoli Photography (lower image).

Elements Presents Fully Improvised Full-Length Ballet by Joseph Caruana

Elements Ballet announces its Winter Program, SOAKED | SURFACE. A two-night world-premiere, this event promises and exciting new twist to contemporary ballet while paying homage to Chicago’s longstanding history of improvised comedy and theatre.

Presented over Valentine’s Day on Thursday, February 14th and Friday, February 15th at 7:30 PM, audiences for SOAKED | SURFACE will be able to experience Chicago’s first full-length, entirely improvised ballet. Held at the Hamlin Park Fieldhouse at 3035 N Hoyne Ave, SOAKED | SURFACE will showcase Elements’ signature style and philosophy of movement – an unconventional, yet compelling aesthetic that emphasizes the form and rigorous training of classical ballet through the freedom and expressiveness of contemporary dance. This particular program is designed to be danced without any pre-rehearsed or set choreography. True to its name, it will all be improvised in the moment by Artists of Elements Ballet.

Improvisation has been a pillar in the Elements Ballet repertoire since its inception; the company regularly incorporates improvised dance into its class/rehearsal process and has previously presented works featuring improvised components. Artistic Director Mike Gosney encourages dancers to inspire and be inspired through the liberties they are allowed through improvising movement. Without the restrictions of classical dance, new lines, patterns, and connections are formed on stage that allow for spontaneity and more authentic artistry. SOAKED | SURFACE will present this while staying true to the signature style of contemporary dance that has made Elements Chicago’s premiere contemporary ballet company for 12 years.

SOAKED | SURFACE will be performed to live music by ALEXA GRÆ, who will be improvising the score to the movement in real time. ALEXA GRÆ has extensive classical vocal training that when combined with electronic instrumentation, creates an auditory aesthetic that has allowed for creation and performance across a myriad of genres including opera, hip-hop, pop, and electronic dance music. ALEXA GRÆ’s blend of rigorous musical training and boundless experimentation mirrors Elements’ own artistic approach: grounded in classical ballet, but heavily encourages the use of artistic experimentation. Elements and ALEXA GRÆ have collaborated as recently as October and are looking forward to creating together in a space with so few constraints and so many artistic possibilities.

Tickets for SOAKED | SURFACE are $25 and can be purchased at brownpapertickets.com. Those interested in a full season subscription package to Elements Ballet’s 2019 event series can learn more at https://www.elementsballet.org/subscription-series-2018-2019/.

This program is part of The Chicago Moving Company Performance Project. The Chicago Moving Company is in residence at Hamlin Park through the Chicago Park District’s Arts Partners in Residence Program, which unites artists and communities in Chicago’s Parks. Improvements to the Hamlin Park Theater are supported in part by a generous Saints 2018 grant.

Elements and Chill at Stage 773 by Joseph Caruana

Elements Ballet is proud to announce the return of its one-night-only film festival on November 9th, 2018 at 7:30 PM. Elements and Chill, the now annual film screening, will be held in Belmont’s Theatre District at Stage 773.

Elements and Chill will present 12 short films each featuring works choreographed by Gosney, Caruana, and guest choreographers Anna Long, and Victoria Vargas, performed by Elements’ company dancers. For each dance, Elements collaborated with a different, local filmmaker to provide fresh perspective on the company’s signature style of dance. Each filmmakers’ distinct cinematography sheds new light on the expressive, rigorous choreography performed by Elements’ company artists.

This year’s filmmakers include Topher Alexander, Rebecca Montalvo, Lonnie Iske, Jordan Selander, Andrew Palmer, Alexander Perez, Paul Myzia, and Brian Vandenbos. The program promises an evening of groundbreaking dance that will mesmerize the audience. 

Tickets for this event are available for $20.00 online at stage773.com and at the door.

Announcing Elements' 2018-2019 Season Subscription Packages by Joseph Caruana


Elements Ballet is thrilled to announce its 2018-2019 Events Series, comprising four diverse programs that showcase new choreography and improvised ballet in a variety of spaces and contexts throughout Chicago.

The series will begin on Friday, November 9, 2018 at 7:30 PM with Elements and Chill, Elements’ second-annual one-night dance film festival. Held at Stage 773 in the vibrant Belmont Theatre District (1225 W. Belmont Ave.), Elements and Chill will feature original short films produced by Elements choreographers and dancers in partnership with local filmmakers. “The concept for these films is to view the art and aesthetic of Elements through the lens of different filmmakers,” notes Joseph Caruana, Executive Director of Elements and a participating choreographer

Audiences will have the rare opportunity to see a fully improvised evening-length ballet at SOAKED, with two performances on Thursday, February 14 and Friday, February 15, 2019 at 7:30 PM. Elements dancers will improvise movement to an original score developed and performed live by vocalist and composer ALEXA GRAE. Incorporating improvisation into its rehearsals on a regular basis, Elements brings this uniquely Chicagoan artistic tradition into the realm of ballet. Held at the Hamlin Park Fieldhouse at 3035 N. Hoyne Ave., SOAKED will showcase the Company’s signature style and philosophy of movement, which combines an emphasis on the form and rigorous training of classical ballet with the freedom and expressiveness of contemporary dance.

On Saturday, May 4, 2019, Elements will reprise its innovative 2017 performance and fundraiser, In the Garden of Atlantis. Looking ahead to the 2020 world-premiere of its full-length original ballet in production, Atlantis, this event will introduce audiences to the latest pieces of choreography from this major passion project by Artistic Director Mike Gosney and co-choreographers. Like the 2017 event, In the Garden of Atlantis will feature a gallery-style ambience with new work by artists in media including visual art, fashion design and photography, all on the theme of the mythical island civilization. In the Garden of Atlantis will take place at the Fulton Street Collective, located at 1821 W. Hubbard St., Suite 307, from 7-10 PM.

Building on the growing anticipation and excitement that Elements has cultivated around Atlantis, the Elements Ballet Events Series will culminate with the first full-length preview of the ballet, Atlantis 2020, on Saturday, August 24 2019 at 8:00 PM at the Athenaeum Theatre (2936 N. Southport Ave.). Audiences will have the opportunity to view the ballet in its current stage of development, from start to finish, including raw choreography and puppetry developed in collaboration with Rough House Theater. Throughout the process of developing Atlantis, Elements has engaged audiences at each stage, providing regular choreography previews, open rehearsals and opportunities to see components of production including storyboard art, libretto excerpts and preliminary costume design. Atlantis 2020 will bring these various components together in a stripped-down version of the later 2020 world-premiere.

For the first time, this season Elements is offering subscription packages that include tickets to each of these four events at a discounted rate plus a free ticket to the Summer Intensive Student Concert on Saturday, August 3, 2019, The Fifth Element.

Subscriptions are $150 – a 25% savings compared to single tickets – and must be purchased before the first event on November 9. Single tickets to each event range from $20 to $75.

Find more details and links to purchase subscriptions and single tickets at elementsballet.org/subscription-series-2018-2019/, and join Elements’ mailing list to get up-to-date news on each event.

Pre-Professionals share the stage with company dancers at Elements Ballet’s Elemental Artists, A Student Showcase by Joseph Caruana

Elements Ballet will present Elemental Artists, A Student Showcase, a performance by the pre-professional students from the company’s summer intensive on Friday, August 3, 8-9:30pm at Extensions Dance Center. The cast includes over 30 pre-professional dancers from all over the country with ages ranging 11-25. New work by co-directors Mike Gosney and Joseph Caruana and other members of the intensive faculty will be featured, as well as special appearances by professional dancers from the main company dancing Elements’ most current repertory.

“Gosney and his company are known for solid technique and stylized movement with a unique approach to teaching and choreographing. By incorporating the natural elements (fire, earth, air, water) to represent major points of dance (expression, physicality, focus, freedom) his work takes on an organic quality that allows the dancers to take risks and really shine.” – RogueBallerina.com

Extensions Dance Center is located at 3933 N Elston Ave, Chicago, IL 60618. This location is not wheelchair accessible.


Announcing the Winner of our #ELEMENTSOFYOU Dance Video Contest, Bella Santucci! by Joseph Caruana

Boiling over with passion, Bella's riveting combination of the water and fire elements for her video is a fantastic example of what #ELEMENTSOFYOU is all about.

Bella wins one free week in the Elements Ballet Summer Intensive, a professional photo shoot with photographer Topher Alexander, and an exclusive Elements Ballet tank top.

You can head to our Instagram page to view all of the featured contestants and special award winners, plus see how dancers from diverse backgrounds express their unique artistry through the four elements!

Do you want to explore earth, air, water, and fire through the lens of contemporary ballet? If so, there is still time to sign up for the Elements Ballet Summer Intensive!

If you are a dancer looking to improve and expand your abilities this summer, this is the intensive for you!

Don't wait - space is limited - click here to register today