BECKET — This week at Jacob’s Pillow, Hubbard Street Dance Chicago shows, once again, that this regionally named group deserves its world-class reputation. The program of four dances is also a fascinating primer on what it means to be a contemporary repertory company today.
Does it make a difference if dances are created for a group by a visiting choreographer (as is the case with Nacho Duato’s “Gnawa,” which he made for Hubbard in 2005), are created for other bodies (Jirí Kylián choreographed “Falling Angels” for his own dancers at Nederlands Dans Theater in 1989; Hubbard added it to its repertoire this year), or are “in-house” dances like resident choreographer Alejandro Cerrudo’s “The Impossible” and “PACOPEPEPLUTO?” Yes, in sometimes subtle, sometimes important ways. Does it make a difference if the dancers are, like the Hubbard Streeters, proficient yet earnest? You bet.