Marisa Santiago, producing director of artistic programming for Chicago’s historic Auditorium Theatre, has curated a diverse and strategically minded dance season aimed at both honoring tradition and expanding audience engagement. The 135-year-old venue, located on the southern edge of the Loop, will host a range of notable companies this fall and into the spring of 2024, with a particular focus on North American dance.
Highlighting the season is the return of Dance Theatre of Harlem, the historically Black ballet company that will perform a single night in October after a decade-long absence from Chicago. Following that, Ballets Jazz Montréal will make its Chicago debut in November with “Dance Me,” a program set to retire after this tour that celebrates the music of Leonard Cohen.
The Auditorium’s dance programming has gained recognition in recent years under Santiago’s guidance, featuring presentations such as the Martha Graham Dance Company’s centennial performance, the return of Parsons Dance Company, and Tiler Peck and Friends, a project led by the New York City Ballet principal dancer. Additionally, Alvin Ailey American Dance Theater remains a long-standing fixture, maintaining a partnership with the venue that spans more than 50 years.
Future performances in the spring season include the returns of Les Ballets Trockadero de Monte Carlo and Ballet Folklorico de Mexico, further reinforcing the season’s emphasis on North American dance traditions. Santiago describes the lineup as reflecting the Auditorium’s historic identity and its enduring relationships with these companies.
Programming dance at a large venue like the Auditorium presents challenges, including a smaller, niche audience and substantial production costs. The Joffrey Ballet’s decision to shift its primary performances to the Chicago Lyric Opera has also impacted the theatre. The Joffrey, which had been a foundational tenant at the Auditorium since relocating permanently to Chicago in 1995, completed its move back to the Lyric in 2021, leaving a significant revenue gap for the venue.
Santiago, who joined the Auditorium in 2019, alongside CEO Rich Regan—who arrived from the Lyric—has responded by diversifying the theatre’s offerings. This includes increasing concerts and commercially appealing events while maintaining dance’s presence. Santiago notes that dance programming was never at risk of elimination, emphasizing the importance of the art form to the venue’s legacy.
A notable adjustment to improve audience experience has been implementing a “curtain cap” system to reduce the visible seating capacity from 4,000 to approximately 2,500, creating a more intimate setting better suited to dance performances. This approach has enhanced ticket sales and audience atmosphere by masking the upper balconies and encouraging fuller houses.
Santiago has also shifted away from a prior emphasis on exclusively Chicago-based companies, instead integrating local groups among a broader, nationally recognized roster. While the Auditorium’s “Made in Chicago” series was phased out, local companies continue to appear within the overall programming slate. Deeply Rooted Dance Theater stands out as a consistent local presence, maintaining a residency with a dedicated performance night each year.
Balancing artistic quality with practical attendance considerations remains a key challenge. Santiago, who also serves on the board of See Chicago Dance, acknowledges the limited venue options for mid-size Chicago companies to scale up and notes that while the city’s dance community is enthusiastic and supportive, the market does not always align with aspirations for large-audience performances.
With these strategic programming choices, the Auditorium Theatre aims to sustain its prominent role in Chicago’s dance scene, honoring its storied history while adapting to contemporary audience dynamics.