Hubbard Street Dance
Detroit Opera House
Jan. 24, 2026
When I went to see Hubbard Street Dance perform at the Detroit Opera House, I was most excited to see the Bob Fosse pieces in their mixed repertory show. But Fosse was far from my mind as I left the theater following the program’s finale piece “Impasse,” which left me with a sense of “What the hell did I just watch?!”
Choreographed by Swedish choreographer Johan Inger, “Impasse” is a full-company acid trip. Entering from what looks like a barn door, it opens with a love triangle on – perhaps – a farm. After the three frolic around the stage together, the barn door opens again to a troupe of Latin-esque dancers who entice them to join in their fun. When you don’t think it can get any more fun – or strange – the barn door opens once again, and that’s when the real weird begins. Enter a group of people in a variety of Halloween-style costumes, many of whom look like Batman villains, apparently there to join the party as well. At some point the “sky” keeps falling until our main trio is the only remaining group in front of the curtain.
Like, seriously. It seems like there’s a story in there. But the main one I got was “Hey, man, I just had the weirdest dream…” “Impasse” was bizarre and fantastic, and by far the most interesting piece of the show.
The program leading up to it included Amy Hall Garner’s “As the Wind Blows” and Matthew Rushing’s “Beauty Chasers,” plus Fosse’s “Sweet Gwen Suite” – with a new co-credit for his wife Gwen Verdon – and “Percussion IV.” The performance was Hubbard Street’s first visit to the Detroit Opera House since 2008 and presented works new to Detroit audiences.
The pieces by iconic stage and film dancer and choreographer Fosse were the second highlight of the program. Famed for his work in shows like “Chicago,” “Cabaret” and “Sweet Charity,” Fosse has a distinctive sassy jazz style known for moves that include precision isolations, finger snapping, hunched shoulders and jazz hands – often accompanied by bowler hats and gloves. You’ve likely seen it, even if you didn’t recognize it.
“Sweet Gwen Suite” was a compilation of three pieces he choreographed for TV in the late 1960s. This included “Mexican Shuffle,” a fun sequined-cowboy hat trio – complete with smoking cigarettes – and “Mexican Breakfast,” a playful Austin Powers/'60s-style trio that featured choreography that obviously inspired Beyonce’s iconic “Single Ladies” dance. “Cool Hand Luke” – part of the “Suite” – and “Percussion IV” were two solos that rounded out the Fosse section. All the dancers nailed Fosse’s controlled, cheeky style, and it was a delight to watch. Hubbard Street is apparently the only concert dance company licensed to perform Fosse choreography. I would have been just fine watching an entire program of his work.
“As the Wind Blows” was an enjoyable jazz-based full-company number performed to music by Laura Nashman, Carl Craig, Aaron Copland and Francesco Tristano. I particularly liked its opening, which featured silhouetted dancers moving individually in silence against a sunset-colored backdrop that created a cool vibe. The dancing in silence returned briefly later in the piece, where a synchronized trio continued without music for a short section before picking up again flawlessly, which was impressive.
“Beauty Chasers,” a trio performed to music by Elinor Ahlstrand, Alice Coltrane, David and Steve Gordon, Matthew Halsall and the Reiki Healing Music Ensemble, followed. The piece was slow and tribal with an element of sacredness, especially opening with the individual dancers bathed in ethereal cones of light, which made for a lovely aesthetic.
Hubbard Street’s Detroit performance offered a range of styles that showed off the company’s versatile repertoire and strong dancers. But as much as I love Fosse – and still would have enjoyed a Fosse-only show – they certainly buried the lede in the program’s marketing. “Impasse” alone was worth the trip – pun intended – and was unlike anything I’d ever seen before. It turned what had been a pleasant evening into an exciting and delightfully weird one, and I loved it.
