PABLOPIANTINOMEREDITHDINCOLOWhat do you like about working withthe HSDC? What do you think makes ita unique company?The repertoire that <strong>Hubbard</strong> has isdefinitely an attractive thing. It’s oneof the few American companies witha strong European repertoire. It’s a bitlike a family. It’s not that huge andwe tour a lot, so we’re recognizedall over the company and the world.Plus, Chicago is a pretty cool town.Right now it’s appealing because thenew director is an awesome humanbeing, plus the dancers that we workwith are really amazing.I’ve been here for a while, and thefact that it’s a repertory companymeans that things are always changing.It’s not like a Broadway showwhere the program is the same everynight. People are constantly changing,and also I think the nature ofour group not being a huge companymeans that you have a strongrelationship with your colleagues andwe’re always in different situationsof mixing up partnerships in thegroup. You can’t get stuck in a routine,and we have a real versatility.Do you get to interact much with nondancerson the HSDC staff?Not too much because they’re alwaysbusy and we’re always busy, but hereand there we do get together whenwe have things like donor parties andreceptions. They always come to ourshows though, so they know who weare and what we do, but unfortunatelywe often, as dancers, get so caught upin our routine that at the end of theday we just want to go home and rest.But, we all know each other and arestill all friendly with each other.Everyone is here together except forwhen we’re on tour. We have verydifferent schedules, but we do getto interact when we’re organizingthings through the Education orProgramming departments. We’llwork together when meeting donorsor new members.24 UMS 09-10
PEOPLEARTISTIC STAFFIt takes more than just dancers to run a dance company.These are some of the behind-the-scenes members of <strong>Hubbard</strong> Street.GLENN EDGERTON Artistic DirectorEdgerton joined HSDC after an international career as a dancer and director. He began his dancing career at The JoffreyBallet where, mentored by Robert Joffrey, he performed leading roles in the company’s contemporary and classicalrepertoire for 11 years. In 1989, Edgerton joined the acclaimed Nederlands Dans Theater, and after dancing for five yearsretired from performing to become artistic director of the main company, leading NDT1 for a decade and presenting theworks of Jirí Kylián, Hans van Manen, William Forsythe, Ohad Naharin, Mats Ek, Nacho Duato, Jorma Elo, Johan Inger,Paul Lightfoot, and Sol Leon, among others. From 2006 to 2008, he directed The Colburn Dance Institute at The ColburnSchool of Performing Arts in Los Angeles. In 2007, Edgerton initiated a series of collaborations between The ColburnSchool and <strong>Hubbard</strong> Street Dance Chicago. Glenn joined HSDC’s artistic leadership team full-time as associate artisticdirector in 2008 and now, as artistic director of <strong>Hubbard</strong> Street Dance Chicago, will guide the company forward, buildingon more than three decades of artistic leadership from both Lou Conte and Jim Vincent, whose extraordinary work hasestablished the company as a leader in dance performance, education and appreciation.JASON D. PALMQUIST Executive DirectorPalmquist joined <strong>Hubbard</strong> Street Dance Chicago in May 2007, after serving the arts community in WashingtonD.C. for nearly fifteen years. Palmquist began his career at the John F. Kennedy Center for the Performing Arts,most recently serving as Vice President of Dance Administration. During his tenure, he oversaw multiple worldpremiereengagements of commissioned works in dance, the formation and growth of the Suzanne Farrell Ballet,and the inception in 1997 of the Millennium Stage—an award-winning, free daily performance series that has todate served over three million patrons. Deeply enriching the Kennedy Center’s artistic programming, he successfullypresented engagements with many of the world’s most important dance companies including the Royal Ballet,Alvin Ailey American Dance Theatre, the Kirov Ballet, Paul Taylor Dance Company, American Ballet Theatre, andNew York City Ballet. Palmquist also managed television initiatives of the Kennedy Center including the creation ofthe Mark Twain Prize for American Humor and a prime-time special on NBC memorializing the first anniversary ofthe September 11 attacks. In 2004, he accepted the position of executive director of the Washington Ballet. Underhis leadership, the company presented full performance seasons annually at the Kennedy Center and the WarnerTheater, as well as nurtured its world-renowned school and extensive education and outreach programs. Raised inIowa, Palmquist is a graduate of the University of Northern Iowa.UMS 09-1025