Too Beaucoup

Sharon Eyal and Gaï Behar, Choreography
Ori Lichtik, Music
Ori Lichtik, Sharon Eyal, and Gaï Behar, Soundtrack Design
Sharon Eyal and Gaï Behar, Costume Design
Avi Yona Bueno (Bambi), Lighting Design

Too Beaucoup is a full-company work created for Hubbard Street Dance Chicago by Sharon Eyal and her co-creator Gaï Behar. This world premiere is the choreographic sequel to Bill, a piece created by Eyal and Behar for Batsheva Dance Company in 2010, inspired partly by the video artist Bill Viola. Bill is about things people experience very strongly, which change without notice - like a view passing by. Too Beaucoup, meaning “too too much” in French, aims to manipulate and replicate precise and robotic movement that offers a sense of watching a 3-D video. Because of this, music, costumes and lighting become just as important as the movement. The creative process proved eye-opening for Hubbard Street dancers. “If I had to choose what I learned most during the process, it would have to be how different we all are as individuals and how simple it can be to share one mind between us,” explained Hubbard Street dancer Christian Broomhall. “In the beginning stages of the process with Sharon, all of the dancers had their own interpretation of what the movement and musicality of the movement was supposed to be.  And now we are all operating as one organism, most of the time, without having to bring out the bleach and toothbrush. When a community decides to exist as one and be in-tune with each other, all of our differences go unnoticed.”

Created for and premiered by Hubbard Street Dance Chicago at the Harris Theater for Music and Dance, March 17, 2011. Technical support provided by the Irvine Barclay Theatre, Irvine, CA. Music by Gang of Four: “At Home He’s a Tourist,” from the album Entertainment! for Warner Music Group.  Music by Vicious Pink: “8:15 to Nowhere,” for PIAS.  Music by Depeche Mode: “See You”, “The Meaning of Love,” from the album A Broken Frame for Warner Music Group.  Music by COH: “Quadrate Fur Max-Ernst,” from the album CoH – 0397 Post-Pop for MEGO Records.  Music by Leonard Cohen: “Hey That’s No Way to Say Goodbye” as recorded by The I.V. League.  Music by Cole Porter: “It’s De-Lovely,” from the album Ted Sommer: Pleasant Percussion: The Music of Cole Porter for Universal Music Group.  Music by Vice: “Temptations” for the album Trojan Horse for Tresor Records.  Music by Bobby Timmons: “Moanin’” for the album Moanin as recorded by Art Blakey & The Jazz Messengers for EMI Music.  Music by Oren Barzilay: “God’s Creation,” from the album Sorrow Demons Joy Blizzards for High Fidelity Records.

The Sara Lee Foundation is the Lead Corporate Sponsor of Choreographic Diversity which supported the creation of Too Beaucoup, the new work by Sharon Eyal. Too Beaucoup was created as part of Hubbard Street’s 2011 Celebrating the Art of Israel project, which is supported by Meg and Tim Callahan and Jane and Michael Strauss, Lead Individual Sponsors, Lisa and Randy White, Individual Sponsors and Choreographer’s Circle members, Richard Rodes and Sandy Fisher, whose gift is in honor of Byron and Judy Pollock.  Special support provided by the Consulate General of Israel to the Midwest.


Meet The Choreographer

Sharon Eyal was born in Jerusalem in 1971. She joined Batsheva Dance Company in 1990. During her time there, she developed her talents as a choreographer, becoming so adept that she was named associate artistic director in 2003 and 2004. In 2005, Sharon was invited to serve as Batsheva’s Resident Choreographer, a position she still holds today. Eyal is such a productive choreographer that within an extremely short time she developed into an influential figure on the Israeli scene and has rapidly been gaining international recognition. Among her creations for the Batsheva Dance Company and the Batsheva Ensemble: You Got to Live, Pan (2001), Ink (2002), Static (2002), After Love (2003), Love (2003), Quiet Village (2004), Part II (2005), Bertolina (2006) and Makarova Kabisa (2008). In the last few years, Eyal’s reputation has been generated interest from choreographers and dance companies outside of Batsheva Dance Company. Solo dancer Talia Paz has been performing excerpts from Eyal’s love and One Leg Barbie, a new solo created by Eyal, in performances around the world. In 2009, Eyal created Killer Pig, a new work for Norway-based dance company Carte Blanche. The world premiere of Too Beaucoup by Hubbard Street Dance Chicago will be Eyal’s first work created for and presented by an American dance company.

Related Materials

Quotes/Reviews from the spring 2011 Chicago Premiere:

“Eyal has her own gripping sense of the obsessive, near-disembodied drive of modern life and a similar flair for deploying a group. And through the use of vivid patterns, a propulsive drive and zombielike, “undead” movement, she has the dancers evoking the strange sensuality of compulsive automatons (think of a Pac-Manlike, moonwalking mob line-dancing at a techno club).” – Chicago Sun-Times