Klock in William Forsythe's Quintett. Photo by Todd Rosenberg, Courtesy Hubbard Street Dance Chicago

25 to Watch 2018: Alice Klock

Densely dimensional, unpredictable, strangely graceful and wild, Alice Klock's dances are like elegant ribbons caught in hopelessly tangled knots. In 2018, she'll choreograph more works than she did the year before, extending a trajectory that's continued throughout her still-brief career.


While her early premieres were in-house affairs at Hubbard Street Dance Chicago, where she also dances, Klock is increasingly sought-after as a guest choreographer. She has recently added to her resumé the International Beethoven Project, Neos Dance Theatre, the Nexus Project, NW Dance Project, Visceral Dance Chicago and, later this year, Whim W'Him.

Hubbard Street asked the willowy wunderkind, now 29, to be its second-ever Choreographic Fellow beginning last fall. She and Hubbard Street artistic director Glenn Edgerton redesigned the position, orginated by Alejandro Cerrudo, to allow Klock greater flexibility in pursuing freelance opportunities while fulfilling her performance duties during her seventh season with the company.

"I'm excited to grow that position and to do everything I can with it," she says, while noting that her other two titles—dancer and (prolific) painter—remain just as important.

"Strangely enough, those three facets of my artistic self feel like very different beings," says Klock, who shares her artwork on klockonian.com. "Each of them uses its own part of my creativity, but they all perfectly triangulate each other, which keeps me balanced."


Find out who else made Dance Magazine's "25 to Watch" list this year.

Latest Posts


Studio Bleu students Jaxon Keller, Samantha Halker and Alia Wiggins. Photos by Chris Stark

How Turning Boards and Practice Mats Can Revolutionize Your Dance Training

When it comes to equipment, dancers don't need much—just shoes and whatever can fit in their dance bag. But between rehearsals in the studio and performances on stage, one major piece of equipment often goes overlooked—the floor.

Dancers too often find themselves warming up on the concrete or carpet backstage, or wanting to practice in a location without a proper floor. For years, Harlequin Floors has offered a solution to this problem with its innovative turning board, offering a portable and personal floor that can be flipped between marley and wood. Now, they've revolutionized portability again with their practice mat, offering dancers the option to roll up their own personal floor and sling it over their shoulders like a yoga mat.

We spoke with experts from every corner of the dance industry to see how Harlequin's products have become their everyday essentials:

GO DEEPER SHOW LESS