Displaying items by tag: Lyric Opera House

Lyric Opera of Chicago continues its commitment to bold, new work with the world premiere of safronia, a landmark musical composition commissioned from Chicago’s first Poet Laureate, the interdisciplinary artist avery r. young. Presented for two performances, April 17 & 18, 2026, at the Lyric Opera House, safronia is an American story told through blues, gospel, and funk that places the Great Migration centerstage.

Part family saga, part American reckoning, safronia follows the booker family as they journey from the North back to their Mississippi hometown to lay their father’s ashes on land they were forced from. What begins as a burial ignites a volatile confrontation with memory, inheritance, and the unfinished business of history. Blending folklore, poetry, and gospel-rooted sound with Lyric's orchestral sweep, young crafts a work at once intimate and seismic. It is a Chicago-born story that speaks to the nation.

A Chicago story. An American reckoning.

Between 1910 and 1970, millions of Black families left the South in the Great Migration, reshaping cities like Chicago and redefining the nation’s cultural and political landscape. In safronia, that history is not the backdrop — it is the heartbeat.

The booker family once built something of their own. When that foundation is stripped away from under their feet, they join the tide of those heading North. Years later, they return to Mississippi not only to bury patriarch baar jacob booker, but to face the forces that drove them away.

At the center stands safronia booker, baar’s youngest daughter — fiercely loyal, sharp-witted, and unwilling to surrender what her father fought to claim. Around her gather magnolia, the family’s steady matriarch; king willie tate, determined to secure dignity in the North; and the town that has never forgotten the bookers’ claim to the land.

Through pride, humor, anger, faith, and music, safronia asks: What does it mean to return home? What is owed? And who decides what belongs?

A new opera with Sunday service energy

From the beginning, young set out to expand the definition of classical music.  

"This would not be ‘chocolate-covered Mozart,’" says young.

"The music Black people made in this country is American classical music," says young. "In safronia, those traditions — gospel hymns, blues progressions, funk rhythms, and the layered call-and-response of the Black church — are not softened or translated. They are the foundation."

With safronia, young reshapes the operatic experience and expands the operatic vocabulary, positioning Black musical traditions not at the margins of the art form, but at its core.

Clapping, snapping, percussive movement, and rhythmic vocal textures are embedded into the score and built into the performance. The energy of a Sunday service informs the structure of the work. The opera house becomes a participatory space. Audiences do not simply observe and witness; they move with the story.

avery r. young: An artist expanding what American opera can be

Selected in 2023 as Chicago’s first Poet Laureate from more than 1,300 applicants, avery r. young is a 3Arts Awardee — a distinction recognizing significant contributions to Chicago’s cultural life — and a Cave Canem Fellow, part of the nationally respected organization supporting Black poets. A composer, producer, educator, and co-director of the interdisciplinary arts collective Floating Museum, young works across poetry, music, performance, visual art, and sound design. His writing appears in The BreakBeat Poets, Poetry magazine, and alongside Cecil McDonald Jr.’s photography in In the Company of Black. He tours nationally with his band, de deacon board.

young first collaborated with Lyric in 2021 on Twilight: Gods (2020/21), a drive-through reimagining of Wagner’s Ring cycle conceived and directed by Yuval Sharon. For this ambitious, pandemic-era production staged in a Chicago parking garage, young wrote and performed poetic transitions that reframed Wagner’s epic through a distinctly Chicago lens. Following that project’s success, Lyric invited young to imagine a work of his own for the stage.

With safronia, young returns as composer, librettist, and performer in his first full-length operatic creation. Drawing on his own family’s Great Migration story and the musical traditions of Chicago’s West Side, young delivers a work that speaks locally and nationally at once.

The voices that bring safronia to life: a cast of national distinction

Composer and librettist avery r. young performs the role of baar jacob booker, the family patriarch whose presence anchors the work both in life and in memory.

Chicago-born singer-songwriter Meagan McNeal makes her Lyric debut in the title role of safronia booker. Known for collaborations with Makaya McCraven, Common, The O’Jays, Eminem, and the Chicago Symphony Orchestra, McNeal reached national audiences on NBC’s The Voice, where she worked alongside Jennifer Hudson.

Award-winning vocalist and actor Maiesha McQueen makes her Lyric debut as magnolia booker, the family’s regal matriarch. Her career spans Broadway and major regional theaters, including Waitress on Broadway and the national tour of Come From Away. Regionally, she portrayed Celie in The Color Purple at the Denver Center for the Performing Arts and Mahalia Jackson in Mahalia!.

Joseph Jefferson Award-winning performer Lorenzo Rush, Jr. appears as king willie tate, safronia’s husband and a man determined to build stability and dignity for his family in the North. A familiar presence on Chicago stages, Rush has performed at Marriott Theatre, Paramount Theatre, Porchlight Music Theatre, Drury Lane Theatre, Goodman Theatre, and Court Theatre. He is a Jeff Award recipient for Ain’t Misbehavin’, Five Guys Named Moe, and Sophisticated Ladies. His television credits include Chicago Fire and Fargo.

Jeff Parker returns to Lyric as bossman. Parker previously appeared at Lyric as Arne Duncan in The Walkers from Proximity (2022/23) and has performed at nearly every major Chicago theater, including Goodman, Steppenwolf, and Chicago Shakespeare Theater.

Grammy Award–winning bass-baritone Zachary James makes his Lyric debut as cholly, following performances with the Metropolitan Opera, English National Opera, and major houses across Europe and the United States. He was also recently seen in Jesus Christ Superstar at the Hollywood Bowl. James brings formidable presence to this layered role.

The ensemble includes Jessica Seals, Sydney Charles, Miciah Lathan, Kendal Marie Wilson, Maxel McCloud Schingen, and Bailey Haynes, all making their Lyric debuts, alongside Eric Andrew Lewis, who returns to Lyric after appearing in Jesus Christ Superstar (2017/18).

Musically, safronia brings together the Lyric Opera Orchestra with members of avery r. young’s blues and funk ensemble, de deacon board. In addition to strings, winds, and brass, the score incorporates electric bass, organ, and harmonica — performed by three-time Grammy nominee and Blues Hall of Fame inductee Billy Branch — as well as keyboards by Chicago jazz pianist Theodis Rodgers Jr., who served as music director for Curtis Mayfield. The result is a sound that moves fluidly between operatic writing and the pulse of the Black church and juke joint.

A creative team built for new work

For a world premiere of this magnitude, safronia brings together a creative team fluent in new work, fearless storytelling, and music that lives at the crossroads of tradition and innovation.

safronia is directed by Timothy Douglas in his Lyric debut following more than 150 productions nationwide, including the world premiere of Jasmine Barnes and Deborah D.E.E.P. Mouton’s She Who Dared at Chicago Opera Theater. Douglas has created new productions for companies including Boston Lyric Opera and New Orleans Opera. Widely respected for staging works that fuse intimacy with scale, he is known for excavating the emotional core of new pieces and shaping them into theatrically urgent events.

Conductor Paul Byssainthe, Jr., in his Lyric debut, bridges sacred, classical, and theatrical traditions with uncommon authority. He currently serves as Associate Music Director for the Broadway revival of Ragtime at Lincoln Center Theater and previously led Goddess, the Kenya-set Afro-jazz musical at The Public Theater, as well as the Broadway revival of The Wiz.

The creative team includes costume designer Jessica Jahn, returning to Lyric following Blue (2024/25) and West Side Story (productions in 2019 and 2023); lighting designer Jason Lynch; video designer VAM Studio, an award-winning Chicago-based collective known for community-centered visual storytelling; and choreographer Kia Smith, founder of South Chicago Dance Theatre — all making their Lyric debuts.

Together, this team does more than mount a premiere — they build a world.

Continuing Lyric’s investment in the future of opera

With safronia, Lyric makes a bold statement about the future of the art form. These two performances represent a five-year investment in the development of a new American work — commissioned by Lyric, conceived in conversation, cultivated through collaboration, and brought to the mainstage with the full force of the company behind it.

In recent seasons, Lyric has accelerated its commitment to expanding the canon through ambitious contemporary projects including Proximity (2022/23) — featuring The Walkers by Daniel Bernard Roumain and Anna Deavere Smith, Four Portraits by Caroline Shaw and Jocelyn Clarke, and Night by John Luther Adams and John Haines — as well as Will Liverman and DJ King Rico’s The Factotum (2022/23), a reinvention of Rossini set on Chicago’s South Side, and the site-specific Twilight: Gods (2020/21). Each signaled a company willing to challenge assumptions about what opera is, who it serves, and whose stories command its grandest stages.

safronia builds on that momentum at an even greater scale. Developed over half a decade, the work reflects Lyric’s long-term strategy to commission, nurture, and premiere operas that speak directly to the American experience. By investing deeply — artistically, financially, and institutionally — in new voices and new forms, Lyric positions itself not simply as a presenter of the repertoire, but as an architect of its future.

In bringing safronia to life, Lyric asserts that American opera is not a distant tradition to be inherited. It is a living form to be shaped — here, now, and on its mainstage.

Two performances only:

• Friday, April 17, 2026 at 7:00 p.m.
• Saturday, April 18, 2026 at 7:30 p.m.

Language: Sung in English, with projected English titles above the stage.

Running time: Approximately 2 hours and 20 minutes, including one intermission.

Exhibition: The Art of Culture: Presented March 2 – April 18, 2026 in Lyric’s Grand Foyer and Mezzanine, in celebration of Lyric's performances of Madama Butterfly, El último sueño de Frida y Diego, and safronia, this six-week exhibition highlights the traditions and artistic legacies of Japanese, Mexican, and African American cultures. The Art of Culture features an exploration of Japan’s historic Geisha culture, visual artwork by Mexican American artists, and selections from Vanessa Charlot’s Down in the Delta, a photographic journey through the Deep South inspired by the Great Migration. Community partners include the Japanese Cultural Center, the National Museum of Mexican Art, and photographer, filmmaker, and scholar Vanessa Charlot. The exhibition is free to all ticketholders.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk presented by Vanessa Charlot, 2025 Crossroads Arts Fellow and faculty member at the University of Mississippi, whose work is also featured in The Art of Culture. Talks begin one hour before each performance in the theater’s Steiner Parquet (main floor).

Accessibility: Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on accessibility services, visit lyricopera.org/accessibility.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/safronia or call 312.827.5600.

Ashley Wheater MBE, The Mary B. Galvin Artistic Director of The Joffrey Ballet, today announces the Joffrey's 2026-2027 season at Lyric Opera House, featuring the North American premiere of Christopher Wheeldon's The Sleeping Beauty, set to Tchaikovsky's greatest score, and the Chicago premiere of John Neumeier's landmark narrative ballet Liliom. The Joffrey will be the first American company to bring both ambitious, larger-than-life productions to life.

The Joffrey Ballet begins its 2026-2027 season with the Chicago premiere of John Neumeier's Liliom, September 17–27, 2026. Inspired by Ferenc Molnár's 1909 play and later the basis for the musical adaptation Carousel, Liliom traces a haunting story of love and redemption set against the faded glamour of a Depression-era amusement park, featuring an evocative score by multi-Academy Award®-winning composer Michel Legrand. Soon after, two-time Tony Award®-winner Christopher Wheeldon's The Nutcracker returns with its unmistakable sense of magic, December 4–27, 2026, followed by Notes on Love, February 4–14, 2027, a program exploring love through four distinct lenses—with favored works by Liam Scarlett and Nicolas Blanc, alongside a world premiere by Winning Works alum Houston Thomas. Closing the season in glorious fashion is the North American premiere of Christopher Wheeldon's The Sleeping Beauty, a timeless fairy tale transformed into a theatrical spectacle, featuring Jerome Kaplan's lavish costume and set design and Tchaikovsky's greatest score. The beloved classic is a magical celebration for audiences of all ages, May 13–23, 2027.

"The 2026–2027 season places the Joffrey at the forefront of dance, with works of rare theatrical scale," says The Mary B. Galvin Artistic Director Ashley Wheater MBE. "We are proud to be the first American company to present the Chicago premiere of Liliom, John Neumeier's masterful, heartbreakingly beautiful narrative ballet rarely seen in the United States, as well as the North American premiere of Christopher Wheeldon's The Sleeping Beauty. Set to Tchaikovsky's greatest score, this magnificent season finale reminds us that light always prevails over darkness. Alongside these landmark productions is our winter program, which welcomes the return of Liam Scarlett's breathtaking Hummingbird, and a world premiere by Winning Works alum Houston Thomas—speaking to the Grainger Academy's lasting impact on artistic futures." Wheater continues, "This season brings the full breadth of the art form on one stage, performed by a Company dancing at the highest level."

"Following the Joffrey's 70th Anniversary, the 2026–2027 season sets the tone for the next 70 years," says President and CEO Greg Cameron. "With a Chicago premiere, a North American premiere, and a world premiere, The Mary B. Galvin Artistic Director Ashley Wheater MBE has curated a season that reflects an organization operating at scale—investing in artists, pairing artistic ambition with structural strength, and asserting Chicago's role as a center for creative leadership. This season expresses the confidence and continuity of the Joffrey, with audiences at the center of it all."

All season performances take place at the Lyric Opera House in downtown Chicago at 20 North Upper Wacker Drive. All programs throughout the season feature live music performed by members of the Lyric Opera Orchestra, conducted by Scott Speck, Music Director of The Joffrey Ballet.   

About the 2026–2027 Season 

Liliom | September 17–27, 2026 

Choreographer: John Neumeier | Music: Michel Legrand

Chicago Premiere 

One of the most influential artists of our time, Neumeier brings his landmark narrative ballet, Liliom, to the Joffrey for its Chicago premiere. Inspired by Ferenc Molnár's 1909 play and later the basis for the musical adaptation Carousel, Neumeier's adaptation follows Liliom, the charismatic but self-destructive carnival barker whose fierce love for Julie is unraveled by pride, poverty, and rage. Set amid the dreamlike, faded glamour of an American amusement park during the Great Depression, passion turns toward crime—and ultimately, tragedy.

Granted a chance to return to Earth after death, Liliom confronts the consequences of his choices and attempts one final act of grace. What remains is a stark reckoning with guilt and the fragile possibility of redemption. Rarely presented in the United States, Liliom is among Neumeier's most profound artistic endeavors. Distinguished by his signature emotional depth and theatrical nuance, Liliom takes shape through multi-Academy Award®-winning composer Michel Legrand's evocative score, blending classical and jazz influences that echo a restless America.

From the choreographer of The Little Mermaid and other celebrated works, including Sylvia and the Lyric Opera's first collaboration with the Joffrey, Orphee, Neumeier's masterpiece Liliom makes its Chicago premiere with the Joffrey, the first American ballet company to bring the production to life. Learn more about John Neumeier here.

With gratitude to Liliom Presenting Sponsor Mr. and Mrs. Joel V. Williamson, Major Sponsor Pamela Crutchfield, and Production Sponsor Holly Palmer Foundation. 

The Nutcracker | December 4–27, 2026 

Choreographer: ©Christopher Wheeldon | Music: Peter Ilyich Tchaikovsky  

This holiday season, step into the spellbinding world where history and dreams intertwine. Join Marie and her Nutcracker prince on a fantastical adventure in Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, set amid the wonder of the 1893 Chicago World's Fair. On a magical Christmas Eve, after awakening to an epic battle between Toy Soldiers and the Rat King, a flurry of snowflakes sweeps Marie away on a whirlwind journey to the dreamlike fairgrounds of the World's Columbian Exposition. Set to Tchaikovsky's classic score, experience sprawling attractions from around the globe: the radiant Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. Learn more about Christopher Wheeldon here.  

With gratitude to The Nutcracker Presenting Sponsor Guarantee Trust Life Insurance Company.

Notes on Love | February 4–14, 2027

Notes on Love explores a word that refuses a single definition. Winning Works alum Houston Thomas, alongside choreographers Liam Scarlett and Nicolas Blanc, consider the feeling through four distinct lenses: love as place, as longing, as memory, and as nostalgia—each revealing love in all its depth and beauty.

The full program is as follows: 

Dear Chicago: A Love Letter

World Premiere

Choreographer: Houston Thomas | Music: Jonathan Bingham

This world premiere from 2024 Winning Works choreographer Houston Thomas places Chicago front and center. Conceived as a love letter to the city that shaped him, the work translates its rhythm and creative drive into movement. An original score by Jonathan Bingham with layered poetry adds emotional depth to this ensemble piece, capturing the scale, energy, and pulse of Chicago itself. Learn more about Houston Thomas here.

With gratitude to Houston Thomas's World Premiere Commissioned Score Sponsor Zell Family Foundation.

All that Remains

Chicago Premiere 

Choreographer: Nicolas Blanc | Music: Ezio Bosso  

Beneath an imagined sky of clouds and rain, three dancers move through cycles of attachment and separation, love, and the memories that linger between them. Set to music by Ezio Bosso, whose compositions have long inspired Blanc and are celebrated for their beauty, sensitivity, and emotional power, All that Remains extends a deep artistic bond, allowing Bosso's resonance to live on through dance. Learn more about Nicolas Blanc here.  

Hummingbird

Choreographer: Liam Scarlett | Music: Philip Glass 

Scarlett's Hummingbird is a breathtaking exploration of human connection, blending classical form with emotional immediacy. Set to Philip Glass's Tirol Concerto for Piano and Orchestra, the work articulates love and longing through a progression of three pas de deux. Sweeping ensemble patterns give way to a searing second movement that pushes the dancers to visible exhaustion, revealing the strenuous demands of intimacy. Framed by John Macfarlane's hand-painted stage designs, Hummingbird feels both expansive and intimate—a precise, powerful meditation on what it means to connect. Learn more about Liam Scarlett here.  

Les Boeufoons

Choreographer: Nicolas Blanc | Music: Darius Milhaud

In 1920s Paris, no place captured the city's flourishing, eclectic spirit more vividly than the cabaret bar Le Boeuf sur le Toit. A cultural crossroads, it drew artistic luminaries from Cole Porter to Igor Stravinsky and took its name from Darius Milhaud's theatrical, Brazilian-inflected composition. Les Boeufoons draws inspiration from the surreal, uninhibited world of Jean Cocteau's original choreography and from the famed Fratellini brothers, the circus clowns who first brought the work to life.

Les Boeufoons is a co-commission with the Chicago Symphony Orchestra.

The Sleeping Beauty | May 13–23, 2027  

Choreographer: ©Christopher Wheeldon | Music: Peter Ilyich Tchaikovsky

North American Premiere 

A timeless fairy tale transformed into a theatrical spectacle, The Sleeping Beauty conjures a world of grandeur and enchantment. The beloved classic frames the enduring struggle between good and evil, as Princess Aurora falls under a spell that threatens to still an entire kingdom—only to be awakened by true love's kiss. Upon her return, the realm is restored, and light prevails over darkness. Choreographed by two-time Tony Award®-winner Christopher Wheeldon, The Sleeping Beauty blends classical elegance with vivid, cinematic storytelling. With dazzling choreography, Jerome Kaplan's lavish costume and set design, and Tchaikovsky's unforgettable score, Joffrey's season finale blossoms into a magical celebration for audiences of all ages.  From the choreographer of the critically acclaimed Alice's Adventures in Wonderland, Swan Lake, and The Nutcracker.

With gratitude to The Sleeping Beauty Presenting Sponsors Lorna Ferguson and Terry Clark, and Mr. and Mrs. Joel V. Williamson, Major Sponsor Mary Jo and Doug Basler, and Production Sponsor Holly Palmer Foundation.  

Other Engagements 

Grainger Academy of The Joffrey Ballet: Fall Program | November 2026  

ART on THE MART | December 2026 

ART on THE MART celebrates Christopher Wheeldon's The Nutcracker. Figures of the re-imagined Chicago World's Fair-themed production will dance across the imposing facade of THE MART.   

Grainger Academy of The Joffrey Ballet: Winning Works | March 2027 

The Grainger Academy of The Joffrey Ballet celebrates the Seventeenth Annual Winning Works Choreographic Competition. The culminating performances follow a national call for emerging choreographers whose unique perspectives inspire creativity in the form of original works of dance.

With gratitude to Winning Works Sponsors Pritzker Foundation and Rita Spitz.

Grainger Academy of The Joffrey Ballet: Spring Program | May 2027 

The Joffrey Ballet's touring dates are to be announced.

Tickets and Subscriptions for the Joffrey's 2026–2027 Season Performances  

Three-program subscriptions for the fall, winter, and spring season productions, which do not include The Nutcracker, start at $138. Subscriptions are available for purchase online at joffrey.org, by mail (Joffrey Ballet Subscriptions, The Joffrey Ballet, Joffrey Tower, 10 East Randolph Street, Chicago, IL 60601), by telephone at 312.386.8905, by fax at 312.739.0119 or by email at This email address is being protected from spambots. You need JavaScript enabled to view it.  

Single tickets for the September, February, and May performances, as well as The Nutcracker, will be available starting this summer. Single tickets are available by telephone at 312.386.8905 or online at joffrey.org. Please visit joffrey.org for updates.  

All performances are subject to change.  

About The Joffrey Ballet  

The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 71 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works. Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron.

The Joffrey Ballet is grateful for the support of its 2026–2027 Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, Gallagher, The Florian Fund, and Anne L. Kaplan. Live Music Sponsors: Sandy and Roger Deromedi, Sage Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges our Season Partners: ATHLETICO and Chicago Athletic Clubs.

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Instagram, and LinkedIn.  

Marking 70 years of bold, expressive movement, American Icons from The Joffrey Ballet shines as a vibrant salute to the choreographers who shaped American ballet and helped define the company’s enduring legacy. Presented at the stunning Lyric Opera House in the heart of downtown Chicago, the program unfolds under the leadership of The Mary B. Galvin Artistic Director Ashley Wheater, MBE, and President & CEO Greg Cameron. With live accompaniment by members of the Lyric Opera Orchestra, the evening feels grand from the very first note.

Act 1 opens with Kettentanz, choreographed by Gerald Arpino, set to music by Johann Strauss Sr. and Johann Mayer. The curtain rises on a large, beautiful tree center stage, instantly setting a tone of elegance and celebration. The women are dressed in flowing pastel dresses that move effortlessly with each turn, while the men match them with buoyant, precise footwork. The live orchestra, including the delicate, beautiful sound of a harp, adds warmth and richness to the entire act. The dancers are often grouped in pairs, completely in sync, creating a sense of harmony and lightness. The overall feeling is joyful and fresh, almost like welcoming spring. While the choreography feels simple and not overly complex, it works in its favor, allowing the dancers’ technique and musicality to shine. One standout is Hyuma Kiyosawa from Nagano, Japan. He moves with sharp yet graceful precision and a swiftness that immediately draws the eye. His energy radiates across the stage, and when he finishes his time in the spotlight, the audience erupts in applause even as the performance continues. Throughout the act, many dancers take turns in short solos, duets, and pairings, with the men effortlessly lifting the women as they glide through the Viennese-inspired choreography.

After a brief 15- minute intermission, Act 2 shifts dramatically in tone with Secular Games by Martha Graham, set to music by Robert Starer. The curtain rises to reveal six male dancers, shirtless, barefoot, and wearing tights, a striking visual that immediately changes the atmosphere. A woman seated behind me audibly gasps “whoa,” and the audience seems just as captivated. The set includes three ropes, rounded seats, and a ball that the men toss between them. The ball cleverly shifts the audience’s focus, highlighting each dancer in turn as they show off both strength and control. The stage feels almost like a gymnastics practice space, and the opening section carries an intense, competitive energy, as though the dancers are vying for attention and dominance. Each man impresses with powerful movements, one even executes a cartwheel, blending athleticism with artistry.

Eventually, the female dancers enter in leotards of varying colors, adding contrast and balance to the stage. The first duet feels deeply emotional, conveying closeness and intimacy through challenging lifts and seamless transitions. As the act unfolds, the choreography becomes more dynamic and layered, with multiple interactions happening across the stage at once. There is an underlying story of desire and rivalry, a male dancer drawn away from one female partner toward another, competition bubbling beneath the surface. It feels as though everyone is dancing to impress, to attract, to win. One standout here is Lindy Mesmer from Blacksburg, Virginia. She moves with grace and strength, especially during lifts where she holds extended poses high in the air with remarkable control. Her presence feels both powerful and poised, capturing the tension and emotion of the piece.

Act 3 transitions into Postcards, choreographed by Robert Joffrey, set to music by Erik Satie. The mood softens immediately. A male and female dancer, dressed in white, the woman in a flowing white dress, begin a tender duet. Anais Bueno from Córdoba, Mexico and Stefan Gonçalvez from São Paulo, Brazil glide across the stage with a slow, romantic energy. An opera singer enters and begins singing live, a beautiful and fitting addition given the Lyric Opera setting. The dance feels intimate, emotional, and filled with love. Their movements are smooth and connected, almost as if they are breathing in unison. It is a quiet, reflective moment in the evening that allows the audience to pause and feel.

After a second intermission, Act 4 brings the final piece, Voluntaries by Glen Tetley, set to music by Francis Poulenc. The curtain rises to a striking image: a giant white sphere speckled with color dominates the background, echoing the tones of the dancers’ costumes. Victoria Jaiani and Dylan Gutierrez begin the pas de deux in silence, moving without music in a way that immediately captivates. Suddenly, the organ erupts with a dramatic sound reminiscent of Phantom of the Opera, filling the theater with an almost eerie intensity. The duet is fluid and daring, their bodies contorting and intertwining with precision and trust. There is something celestial about the staging, the moonlike sphere, the unusual music, the almost otherworldly costuming. As more dancers join in a pas de trois and multiple couples take the stage, the choreography grows expansive and technically demanding, filled with lifts, flips, and sweeping transitions. While the opening moments are mesmerizing, some sections with the larger groups feel slightly repetitive. Still, the athleticism and difficulty of the choreography are undeniable. The piece ends as it begins, returning to the single couple in silence, bringing the evening full circle.

Overall, the two-hour program moves quickly, each act distinct in tone and style, giving the audience just enough time with each choreographer’s vision. The talent within The Joffrey Ballet is truly remarkable, from the precision of classical pairings to the raw athleticism of modern movement. American Icons is a colorful, dramatic, and thoroughly entertaining night at the theater.

Performances run February 19 through March 1, 2026, at the Lyric Opera House, 20 N. Wacker Drive, Chicago. Showtimes include 7:30 p.m. evening performances (Thursday through Saturday) and 2:00 p.m. matinees on select Saturdays and Sundays. Tickets are available through joffrey.org or directly at the Lyric Opera House box office. For anyone looking for an evening filled with live music, emotional storytelling, and truly impressive dancers, this is a performance well worth seeing.

For more information, click here.

Lyric Opera of Chicago presents Gabriela Lena Frank and Nilo Cruz’s El último sueño de Frida y Diego (The Last Dream of Frida and Diego), on stage March 21 – April 4, 2026. This new opera poses an impossible question: How would you spend a single day reunited with lost love? On the Day of the Dead, three years after her death, Mexican artist Frida Kahlo crosses over from the underworld for 24 fleeting hours with husband and artist Diego Rivera. What unfolds is a dreamlike journey through memory, passion, and everything they created together — both on canvas and in life.

Following its critically praised 2022 world premiere in San Diego, this opera, steeped in magical realism, arrives as the second full-length Spanish-language opera presented by Lyric, following Daniel Catán and Marcela Fuentes-Berain’s Florencia en el Amazonas in the 2021/22 Season. With vivid colors, music inspired by Mexican folk traditions, and staging that transforms the Lyric Opera House into a portal between worlds, this production brings Frida Kahlo’s artistic vision to theatrical life. Mezzo-soprano Daniela Mack stars as Frida in her return to Lyric, joined by baritone Alfredo Daza in his Lyric debut as Diego, soprano Ana María Martínez as Catrina, and countertenor Key’mon W. Murrah in his Lyric debut as Leonardo. Director Lorena Maza and conductor Roberto Kalb, both in their Lyric debuts, lead a creative team that honors the Mexican culture and artistry at the opera’s heart.

A love story that transcends death. El último sueño de Frida y Diego unfolds in 1957, three years after Frida Kahlo’s death. Diego Rivera, aging and consumed by grief, longs for one final moment with Frida. In Mictlán, the Aztec underworld, Frida has found peace, free from the physical pain and heartbreak that defined her earthly life. But Catrina, Keeper of the Dead, insists she must accompany Diego as he nears the end of his life, while Leonardo, the spirit of a young actor, urges her to return — not just for Diego, but for herself and her art.

Frida agrees to return for 24 hours with one unbreakable rule: she cannot touch the living. Her reunion with Diego unfolds in magical realism as the two artists wander through Alameda Park and Casa Azul, rediscovering joy and trying to heal old wounds, both physical and emotional. When Frida breaks the rule and touches Diego, the memories of pain and trauma come flooding back. Yet even in suffering, she finds clarity: Art is the only way to outlive death.

Authors who capture the soul of the story. The creative partnership between composer Gabriela Lena Frank and librettist Nilo Cruz brings extraordinary credentials and deep cultural understanding to El último sueño de Frida y Diego. Their opera functions as both an intimate character study and a vibrant celebration of Mexican artistic heritage while speaking to universal themes of love, loss, and artistic legacy.

Grammy Award-winning composer Gabriela Lena Frank, recently named Musical America’s 2026 Composer of the Year, is one of America’s most celebrated living composers, known for music that explores her multicultural heritage — Peruvian, Chinese, Lithuanian, and Jewish — with particular focus on Latin American musical traditions. Born with high-moderate/near-profound hearing loss, Frank has become a powerful voice for disability representation in classical music, demonstrating that composers can create extraordinary work through different ways of experiencing sound. Frank has received numerous honors including the Latin Grammy Award for Best Contemporary Classical Composition; the 2020 Heinz Award recognizing her for breaking gender, disability, and cultural barriers in classical music; a Guggenheim Fellowship; and commissions from major orchestras and opera companies worldwide. Her music weaves together orchestral colors with rhythms and melodies inspired by Mexican folk music, capturing the surrealist beauty of Frida’s visual art while honoring the emotional depth of her lived experience.

Pulitzer Prize-winning playwright Nilo Cruz created the libretto, bringing his gift for poetic, emotionally resonant language to Frida and Diego’s story. His Spanish text moves fluidly between the real and the imagined, the painful and the joyful, giving voice to Frida’s fierce independence, her artistic vision, and her complex relationship with Diego — a love marked by both deep devotion and profound betrayal. In 2003, Cruz became the first Latino to win the Pulitzer Prize for Drama for his play Anna in the Tropics. His work is known for its lyrical beauty, its exploration of Latin American and Cuban-American experience, and its ability to find magic in everyday moments. Cruz previously collaborated with Lyric and composer Jimmy López in the 2015/16 Season for the world premiere of Bel Canto, based on the Ann Patchett novel.

A singing actress who embodies Frida’s fire and fragility. Mezzo-soprano Daniela Mack returns to Lyric to star as Frida Kahlo, bringing to the role her acclaimed artistry and commanding stage presence. Mack recently appeared at Lyric as Angela in Missy Mazzoli and Royce Vavrek’s The Listeners in the 2024/25 Season, earning praise for her dramatic intensity and vocal beauty. Her international career includes performances at the Metropolitan Opera, San Francisco Opera, Houston Grand Opera, and major European houses. Known for her ability to inhabit complex, unconventional characters, Mack possesses both the rich, warm timbre ideal for Frank’s melodic writing and the dramatic fire needed to capture Frida’s indomitable spirit. Stephanie Sanchez sings the role of Frida on Wednesday, April 1.

A cast that brings passion and artistry to every role. Colombian baritone Alfredo Daza makes his Lyric debut as Diego Rivera, the legendary muralist whose tumultuous marriage to Frida forms the opera’s emotional core. Daza has performed at major opera houses throughout Latin America, Europe, and the United States, earning particular acclaim for his portrayals of complex, larger-than-life characters. His rich baritone and powerful stage presence make him ideal for Diego, whose outsized personality and artistic genius were matched only by his capacity for passionate and perilous living.

Puerto Rican soprano Ana María Martínez, on stage at Lyric this winter as Despina in Mozart’s Così fan tutte, sings the role of Catrina, the skeletal Keeper of the Dead who bridges the worlds of the living and the departed. Martínez last appeared at Lyric in the title role of Florencia en el Amazonas in the 2021/22 Season. Her luminous soprano and elegant stage presence have made her one of the leading interpreters of Latin American opera, with performances at the Metropolitan Opera, LA Opera, and internationally. As Catrina, Martínez brings both authority and compassion to this figure drawn from Mexican Day of the Dead traditions.

Rising-star countertenor Key’mon W. Murrah makes his Lyric debut as Leonardo, the spirit who encourages Frida to return to the living world. Winner of Washington National Opera’s Marian Anderson Award in 2024, Murrah’s burgeoning career includes performances at major American opera companies, where his distinctive countertenor voice and natural charisma have earned critical praise. His portrayal of Leonardo provides a crucial voice urging Frida toward life and art, even as she resists.

The production also features Ensemble members from Lyric’s acclaimed artist-development program, The Patrick G. and Shirley W. Ryan Opera Center, including tenor Finn Sagal as 1st Villager, tenor Daniel Luis Espinal as 2nd Villager & A Young Man, bass-baritone Benjamin R. Sokol as 3rd Villager, soprano Adia Evans as 1st Frida Image, mezzo-soprano Alexis Peart as 2nd Frida Image, and mezzo-soprano Camille Robles as 3rd Frida Image. Mezzo-soprano Corinne Wallace-Crane sings the role of Guadalupe Ponti.

A conductor who honors the music’s cultural roots. Mexican-born conductor Roberto Kalb makes his Lyric debut leading El último sueño de Frida y Diego, bringing a deep understanding of both Latin American musical traditions and contemporary opera. He conducted the opera's world premiere at San Diego Opera and subsequent performances at San Francisco Opera. Music Director of Detroit Opera since 2022, Kalb has built an international career conducting orchestras and opera companies throughout the Americas and Europe. He has particular expertise in contemporary repertoire and works that incorporate folk music traditions into classical forms. His leadership ensures that Frank’s score receives performances that honor both its Mexican folk inspirations and its sophisticated orchestral writing. Under Kalb’s baton, the Lyric Opera Orchestra becomes an essential character in the storytelling, painting Frida’s emotional journey through sound. Chorus Director Michael Black leads the 44 members of the Lyric Opera Chorus.

A director who brings Frida’s visual world to life. Director Lorena Maza makes her Lyric debut with El último sueño de Frida y Diego, bringing her distinctive theatrical vision to this production. A native of Mexico, Maza brings cultural authenticity and deep understanding of the artistic traditions that shaped both Frida and Diego’s work. Her direction emphasizes the opera’s magical realism, creating a production where the boundaries between life and death, memory and reality, past and present, all dissolve into dreamlike theatrical poetry. Maza’s staging honors the surrealist touches that made Frida’s paintings so distinctive while ensuring the emotional truth of the story remains central.

A production that dazzles the eye. The creative team includes set designer Jorge Ballina in his Lyric debut, whose designs evoke both the vivid colors of Frida’s paintings and the liminal space between worlds; costume designer Eloise Kazan in her Lyric debut, whose creations honor Mexican traditional dress and incorporate surrealist elements; lighting designer Victor Zapatero in his Lyric debut; and choreographer August Tye, a longtime Lyric collaborator who has participated in more than three dozen productions. Together, they create a visual experience as rapturous as Frida’s own canvases — a production where endlessly blooming marigolds, skeletal Catrinas, and the jewel-toned walls of Casa Azul transport audiences into Frida’s artistic vision.

When art becomes the bridge between worlds. Beyond its story of love and loss, El último sueño de Frida y Diego is a celebration of Mexican culture and the Day of the Dead traditions that honor the continuing connection between the living and those who have passed. Like the candlelit ofrendas offered on Día de Muertos, this opera doesn’t simply portray two artists’ fantastical reunion but honors the rituals of remembrance that keep memory and love alive. Frank’s sweeping music and Cruz’s poetic libretto create an operatic experience as emotionally rich as the lives that inspired it — a work that affirms art’s power to transcend death and keep our most important connections alive forever.

Performance Dates: Six chances to see El último sueño de Frida y Diego:

• Saturday, March 21, 2026 at 7:30 p.m.
• Tuesday, March 24, 2026 at 7 p.m.
• Thursday, March 26, 2026 at 7 p.m.
• Sunday, March 29, 2026 at 2 p.m.
• Wednesday, April 1, 2026 at 2 p.m.
• Saturday, April 4, 2026 at 2 p.m.

Language: Sung in Spanish, with easy-to-follow projected English titles above the stage.

Running time: Approximately 2 hours and 15 minutes, including one intermission.

Pre-performance talks: Ticketholders are invited to a free pre-opera talk on El último sueño de Frida y Diego's composition history and cultural context; the talks begin one hour before each performance in the theater’s Steiner Parquet (the main floor).

Accessibility: Audio description, a guided touch tour of the set, and SoundShirts are available at the Sunday, March 29 matinee performance. Braille and large-print programs, high-powered opera glasses, assistive listening devices, and booster seats are available from the theater’s Steiner Parquet coat checks at all performances. For more information on these and other accessibility assets, visit lyricopera.org/accessibility.

Production history: A co-production of San Diego Opera (world premiere, 2022) and San Francisco Opera.

Location: Lyric Opera House, 20 N. Wacker Drive, Chicago, Illinois.

For more information and tickets, visit lyricopera.org/frida or call 312.827.5600.

COSI FAN TUTTE translates loosely as ‘Thus Do They All’, referring to the inconstancy – fickleness, even infidelity – of women. ALL women. The opera, composed by Mozart with libretto by Lorenzo Da Ponte, begins with two infatuated men, Ferrando (Anthony Leon) and Guglielmo (Ian Rucker) extolling the virtues of their fiancées Fiordiligi and Dorabella.  Don Alfonso (Rod Gilfry), a self-appointed sage / philosopher, jeers that there is no such thing as a faithful woman and wagers he can prove their perfidy within 24 hours. Ferrando and Guglielmo take the flutter and agree that each will try, in disguise, to seduce the other’s gal. Tough duty, yeah?

Jacquelyn Stucker and Cecelia Molinari are brilliant as sisters Fiordiligi and Dorabella (respectively), with peerless voices and superb acting, including spirited physical comedy. Their performances are matched by Ana Maria Martinez as Despina, the sisters’ puckish maid. Don Alfonso recognizes Despina as a ready collaborator and together they seek to lead Fiordiligi and Dorabella into temptation.

The sisters remain aggravatingly faithful, even when Ferrando and Guglielmo are (seemingly) called into military service and reappear (in disguise) as tempting lady-killers. At the close of Act One the women still stand firm against the wiles of the plotters. I’ll leave to your imagination the further convolutions of the six participants in this 1930’s rom-com battle of the sexes. Hilarity and dazzling arias, frothy costumes and splashy sets, all overlying a hotbed of distrust and deception combine to generate something rather like a skanky reality show.

 The production is marvelous – it can hardly be otherwise with Enrique Mazzola conducting, Michael Cavanagh and Roy Rallo directing (with Katrina Bachus’ Assistance) and Constance Hoffman designing costumes. Erhard Rom designed the set and projections, enhanced by Lighting Designers Jane Cos and Chris Maravich, all drawing us inescapably into Fiordiligi and Dorabella’s world. The libretto was sung in Italian; Christopher Bergen projected English translations. My difficulty reading these resided wholly in my eyes (I simply must see an optometrist!). Wig and Makeup Designer John Metzner was responsible for the various mustaches that ultimately adorned the entire cast. Michael Black directed the chorus, and Francesco Millioto conducted the stage band, all drawn together by Stage Manager Alaina Bartkowiak.

Jacquelyn Stucker (Fiordiligi) purports that the frank silliness of COSI FAN TUTTE creates a lens to study the silliness of the strict gender norms of the 1930’s.

Anthony León Ian Rucker and the Company of Cosi fan tutte.

I found Act 1 of COSI FAN TUCCE a delight; in it Mozart and Da Ponte use the theme of "fiancée swapping", which dates back to the 13th century (as in Shakespeare's Cymbeline). At the intermission I was still mystified as to what 19^th and early 20^th century audiences considered offensive and immoral, but in Act 2 I found myself moving closer to their perspective. From the beginning I, of course, denounced the central tenet: ‘cosi fan tutte’ or ‘all women are like that’, but I found Da Ponte’s cynical libretto effectually counterbalanced by the beauty and emotional resonance of Mozart’s music. In Dorabella’s aria “Smanie implacabili"—"Torments implacable" she bemoans her lover’s absence. This sets the stage for Ana Maria Martinez to establish the maid Despina as pivotal to the comedic theme. The aria "In uomini, in soldati, sperare fedeltà?"—"In men, in soldiers, you expect faithfulness?", was an exhibition of Martinez’ magnificent soprano voice. Act 1 continues with Fiordiligi’s aria "Come scoglio"—"Like a rock"; Guglielmo bragging of his manly attributes with "Non siate ritrosi"—"Don't be shy"; and Ferrando praising his love: "Un'aura amorosa"—"A loving breath".

I have to interject here that I’ve not previously been a devotee of opera – soaring sopranos and booming baritones were wasted on me. However, in reviewing for Buzz Center Stage I’ve come to appreciate the operatic artform and am becoming a true dilettante. So, if you, like me, despise opera, your evaluation may be revised by a suitable overture like COSI FAN TUTTE; though I indeed found it problematic, that very characteristic served to fructify the discussion my companion and I enjoyed during the ride home. Check it out! You never know.

Act 2 helped me understand the antipathy earlier audiences felt for COSI FAN TUTTE. I didn’t find it risqué, vulgar, or immoral [admittedly I personally set these bars pretty high]. I don’t believe I’m introducing spoilers when I say that I found the ending simply wrong. A more believable conclusion [to me] would have Ferrando and Guglielmo running off with each other. I wonder what the reaction would have been to that at its 1790 Viennese premiere.

Additional considerations: this is a long opera – with the 30-minDon’t skip lunch! Or you’ll be stuck with the various flavors of sugar and salt offered at the concession stands at ridiculous prices.ute intermission it runs a full 3½ hours. Think of Return of the King, but with a much-appreciated break to pee. Don’t skip lunch! Make time for lunch/dinner - you’ll feel so much better than if you end up relying on the concession stand’s pricey sugar‑and‑salt options.

COSI FAN TUTTE runs at the Lyric Opera House ONLY until February 15!!

If you are one that finds ballet boring, you haven’t been to Joffrey Ballet. Kicking off their 70th season with Carmen, Joffrey once again proves it’s the ballet company for adults. Hot off the heels of his 2023 production of ‘Frankenstein’, Liam Scarlett returns to Chicago with his US premiere of Carmen.

Set to the iconic Georges Bizet opera score, Carmen is the classic tale of love and betrayal. Carmen works in the harsh conditions of a Spanish cigar factory. Her and the other factory women trade flirtations for preferential treatment from the guards, but it’s the sexy Carmen men all want. Soon she’s entangled in a love triangle between the guard Don Jose (Alberto Velazquez) and bullfighting champion Escamillo.

You can’t have a love triangle in a ballet without a little sex, or in this case, a lot of it. Joffrey has never been shy about putting eroticism into their work, even their Nutcracker has a little something for all ages. Scarlett’s choreography is red hot and his Carmen is even hotter. Victoria Jaiani dances the lead with such lithe dexterity. However, it’s Dylan Gutierrez dancing the role of Escamillo who becomes the focal point in the second act. The bullfight scene nearly commands a standing ovation, something typically reserved for the curtain call.

Carmen is the main character, but that doesn’t necessarily mean she’s the hero. Instead, another unrequited love story unfolds between Don Jose and a young woman from his past Micaëla. Micaëla is danced by Gayeon Jung who not only scorches the floor with her dancing but breaks hearts with her ability to convey emotion through facial expression.

Alberto Velazquez and Gayeon Jung in Carmen at Lyric Opera House.

Carmen begins a little slow, but by the second act, the audience is as seduced by her as Don Jose is. An even more seductive element are the settings created by Kristin McGarrity, Laura Morera and Lauren Strongin. The action plays out against a deepening red sky and concludes with the subtle symbolism of a dying bull. Costumes by Jon Bauser only add to the visual splendor of Carmen.

As Bizet’s beautiful score floats out from the orchestra pit, emotions run high. Carmen is a ballet that keeps its audience firmly in its grip. Opera and ballet are known for their melodrama, but few feel as suspenseful as Carmen. Scarlett’s vision for this new production is perfectly matched by the spectacle created by the innovative team at Joffrey Ballet. 

Through September 18 at Joffrey Ballet at Lyric Opera House. 20 N Wacker Dr. 312-827-5600

The Joffrey Ballet concludes its 69^th season with two-time Tony Award®-winning choreographer Christopher Wheeldon's enchanting and family-friendly Alice's Adventures in Wonderland. Set to Joby Talbot's hallucinatory sound world of sweeping melodies and ticking clocks, the production features vibrant stagecraft and puppetry by Tony Award®-winning designer Bob Crowley, transforming Lewis Carroll's classic tale with a modern twist. The production run has been extended for the first time in the Company's history, with 14 performances across three weekends at the historic Lyric Opera House, 20 North Upper Wacker Drive, from June 5 to 22, 2025 (originally scheduled to close June 15). 

Based on Carroll's beloved story, Alice's Adventures in Wonderland takes audiences on a magical journey through a fantastical world filled with iconic characters, including the high-strung Queen of Hearts, the entrancing Caterpillar, and the tap-dancing Mad Hatter. Through a seamless fusion of humor, whimsy, and fantasy, Wheeldon makes Wonderland wonderfully real in this audience-favorite dance adventure.

A highlight of the year, the Joffrey is the first American company to bring Wheeldon's whimsical Wonderland to life. Premiering in 2011 at the Royal Opera House in London, the ballet has since toured internationally with some of the world's most prestigious ballet companies.

Renowned for blending popular culture with artistic brilliance, Wheeldon also choreographed The Joffrey Ballet's reimagined holiday classic The Nutcracker, celebrating its 10^th anniversary this year. The Joffrey first collaborated with Wheeldon on Swan Lake in 2014.

"The Joffrey holds a special place in my heart. I can't think of a more fitting U.S. company to premiere Alice's Adventures in Wonderland," says choreographer Christopher Wheeldon. "The Joffrey dancers lead the way in storytelling through dance, approaching choreography with enthusiasm and energy. Their passion allows them to fully inhabit the zany and colorful characters of Wonderland. Each year, I'm in awe of their growth in The Nutcracker; it remains one of my proudest achievements. These dancers are artists of curiosity and great integrity."

The Mary B. Galvin Artistic Director Ashley Wheater MBE said, "Collaborating with Christopher is always extraordinary. We are honored to be the first American company to perform Alice's Adventures in Wonderland, a production that dazzles on every level. This spectacular finale to our record-breaking season bursts with theatricality, whimsical stagecraft, and inspiring design. The versatility, theatricality, and technical prowess of the Joffrey artists will bring the iconic characters of Wonderland to life in the most magical way."

President & CEO Greg Cameron added, "Alice's Adventures in Wonderland embodies the Joffrey's commitment to artistic excellence and accessibility. For the first time, we've added four extra performances to expand our Joffrey for All initiatives. These added performances provide more opportunities to engage with our Community Engagement partners and affiliated schools, offering equitable access to arts education for Chicago's youth. Wonderland is a joyful and imaginative showcase of the very best the Joffrey has to offer."

Alice's Adventures in Wonderland features live music performed by the Lyric Opera Orchestra, conducted by Scott Speck, Music Director of The Joffrey Ballet.

Special thanks to Alice's Adventures in Wonderland Producing Sponsor Margot and Josef Lakonishok; Presenting Sponsors Ethel Gofen, The Negaunee Foundation, and Sonja and Conrad Fischer; Major Sponsors Mary Jo and Doug Basler, Dancing Skies Foundation, Mr. and Mrs. Ronald V. Waters III, Audrey Weaver, and the Women's Board of The Joffrey Ballet; Production Sponsors Lynda Sue Lane, M.D., Holly Palmer Foundation, Jeanette Stevens, Richard and Diane Weinberg, and an anonymous Production Sponsor; and Costume Sponsor Jane Ellen Murray Foundation.

Tickets and Schedule
The Joffrey Ballet presents Alice's Adventures in Wonderland from Thursday, June 5–Sunday, June 22, 2025; the full performance schedule is as follows: Thursday, June 5 at 7:30PM; Friday, June 6 at 7:30PM; Saturday, June 7 at 2:00PM and 7:30PM; Sunday, June 8 at 2:00PM; Thursday, June 12 at 7:30PM; Friday, June 13 at 7:30PM; Saturday, June 14 at 2:00PM and 7:30PM; Sunday, June 15 at 2:00PM; Thursday, June 19 at 7:30PM; Friday, June 20 at 7:30PM; Saturday, June 21 at 2:00PM and 7:30PM; Sunday, June 22 at 2:00PM.

Tickets are available for purchase at the Lyric Opera Box Office located at 20 N. Upper Wacker Dr. by telephone at 312.386.8905, or online at joffrey.org.

About The Joffrey Ballet 
The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 69 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works.  

Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron. 

The Joffrey Ballet is grateful for the support of its 2024-2025 Season Sponsors: Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, The Florian Fund, Gallagher, Anne L. Kaplan, and Live Music Sponsors: Sandy and Roger Deromedi, Sage Foundation, Robert and Penelope Steiner Family Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges Season Partners: Chicago Athletic Clubs, and Athletico Physical Therapy, official provider of physical therapy for The Joffrey Ballet. 

For more information on The Joffrey Ballet and its programs, visit joffrey.org. Connect with the Joffrey on Facebook, Instagram, and LinkedIn. 

Frolicking season is upon us once again and Joffrey Ballet welcomes summer with the return of Alexander Ekman’s “Midsummer Night’s Dream”. This production was last seen in Chicago in 2018. Told through a mix of ballet and modern dance, this striking and original show nods at both the Swedish holiday and the Shakespeare play.

Joffrey’s “Midsummer Night’s Dream” asks what makes a dream and whether they ever truly end. In two vivid acts, the ballet explores one man’s dreams on the eve of the summer equinox. Much like “The Nutcracker”, the protagonist is whisked away to a fantastical dance party in his sleep.

The ballet opens with a rather literal roll in the hay that elicits the feeling of young love. Much of the first act takes place in this pastoral setting as the young lovers prepare for the Midsummer holiday. The visual spectacle created by flying hay paired with the original score by Mikael Karlsson is immediately mesmerizing. Though haunting live vocals provided by Swedish pop superstar Anna von Hausswolff really help the music soar to the Christmas light-adorned rafters. The first act’s peaceful feeling billows right off the stage as the protagonist, and the audience are jarred back to reality, left craving just a few more minutes of beauty sleep.

Act II is decidedly more mature. If the first act is about first love, the second act is about erotic love. The triumphant music of Act One is replaced with a stucco, semi-industrial sound. Elements of danger and dread are introduced through nightmarish imagery and shadowing. The dance is harsher, dispensing with the feathery ballet movements and going for a more tribal aesthetic.

Perhaps nothing is as transfixing however as the all-nude ballet complete with simulated sex and giant fish. Dreams don’t have to make sense. In the psychosexual nightmare, time is elastic, and after its eventual climax, we’re looped back to the ballet’s first image, showing the perpetuity of our dream cycles.

As an internationally acclaimed dance institution, expectations are always high for Joffrey Ballet, and in turn they do not disappoint. “Midsummer Night’s Dream” is stylish and sexy. Joffrey has a way of pushing the envelope, and their work feels daring. Though this is a revival, “Midsummer” feels as fresh as the first love depicted in the first act. The forthrightly erotic imagery and choreography and at times intense scoring are as alluring as they are unsettling. Throw in Anna von Hausswolff’s siren call and you’ll be sucked right into this magical work.

Through May 5 at Joffrey Ballet at Lyric Opera House. 20 N Wacker. (312) 332-2244.

What would the holidays be without “The Nutcracker”? No matter where you are in the world, chances are you don’t have to go far to catch a production of the yearly tradition. Joffrey Ballet pays homage to Chicago with their unique version staged by Christopher Wheeldon. This striking version remains just as thrilling year after year and works especially well on the stage at the Lyric Opera house accompanied by the Lyric Opera orchestra.

Instead of the opulence typically associated with the Tchaikovsky ballet, Wheeldon’s version moves the story to bustling 1892 Chicago, just before the 1893 World’s Fair. Visions of the impending World’s Fair dance in the children’s heads as their parents celebrate an evening off work. Coincidentally 1892 is also when the ballet first premiered in St. Petersburg.

Wheeldon’s version makes “The Nutcracker” an American fairy tale in the same vein as “The Wizard of Oz.” It’s an interesting choice to contextualize this normally European-depicted story in an emerging international city. Joffrey’s version is somewhat darker than standard productions but that’s what gives it an edge.

“The Nutcracker” can be a little dull for adults because after all, it is a ballet about dancing food. Upon a closer glance though there’s more than meets the surface. While the spectacle is certainly worth the ticket price alone, what this version does is create a more discernable purpose for Marie’s nocturnal space travel.

Marie, danced beautifully by Anabelle de la Nuez, is a young girl on her last Christmas Eve as a child. After watching her parents and other adults dance and share grown-up romance, she dreams her beloved nutcracker comes to life and whisks her away for an enchanting evening of dance and merriment. “The Nutcracker” can be an interpreted as a tale of young girl’s awakening.

However, you interpret this timeless ballet, Joffrey’s production is one of those staple Chicago holiday shows that seem to occupy our major theaters each December. It’s refreshing to see that our hometown production is unlike anything audiences will see throughout the world.

'The Nutcracker' The Joffrey Ballet Ensemble

As a ballet, the focal point of the performance is the dance and Joffrey’s talented company of dancers from all over the world do an incredible job bringing this story to life. The choreography is transfixing for both children and adults. In fact, adults might even find some of choreography a bit saucy.

Joffrey Ballet’s “The Nutcracker” is a treat for audiences of all ages, and that starts in the pit. By drawing upon Chicago’s rich cultural heritage, this version can find places for instruments not typically heard on recordings of the Tchaikovsky masterpiece. Perhaps Chicago is the only production of “The Nutcracker” in which you’ll hear an accordion.

Americanizing things isn’t always a bad thing and Christopher Wheeldon’s “The Nutcracker” is proof of that. The adaptation is so seamless you’ll wonder why it hasn’t always been presented like this. Because it’s never been staged like this anywhere else, it makes Joffrey Ballet’s production all that much more exciting to look forward to each year.

Through December 27 at Lyric Opera House. 20 North Wacker Drive. 312-386-8905.

West Side Story is just as exciting, vibrant, and moving today as it was when it was first created in 1957. Filled with timeless songs and choreographed dance numbers that are as original as they are visually stunning, West Side Story continues to delight audiences old and new, and Lyric Opera House’s latest offering of this musical masterpiece checks all the boxes. Conceived by Jerome Robbins with lyrics by Stephen Sondheim, music by Leonard Bernstein and book by Arthur Laurents, West Side Story is considered to be one of the best musicals ever created. One cannot help but be pulled in by the production’s engaging story, astounding vocal performances and original dance scenes that incorporate a fusion of ballet and modern dance.

Inspired by William Shakespeare’s tragic love story, Romeo and Juliet, West Side Story turns the feuding Monague and Capulet families and love-stricken teens, Romeo and Juliet, into a New York setting that has the white kid Jets fighting to keep the Puerto Rican Sharks out of their neighborhood. Romeo is replaced by Tony, the former leader of the Jets and Juliet becomes Maria, the sister of Sharks leader Bernardo. When Tony and Maria fall hopelessly in love at a neighborhood dance social, the two are immediately thrust beyond the racial barrier that has caused hate between the rivaling gangs and breaking free from their past will be nothing less than challenging.

The cast of West Side Story. Photo by Todd Rosenberg.

In Lyric Opera House’s production of West Side Story we are met with stunning sets designed by Peter J. Davison that take us to a New York City neighborhood that gives us the feel of the musical’s late 1950’s era while implementing many touches of today’s world, as evidenced by the Bad Bunny poster hung on the wall of Maria’s room. Costume Designer Jessica Jahn also sprinkled in a mix of yesterday and today combining the white t-shirts, cuffed jeans, Converse All-Stars and flashy dresses that represented the late 1950’s with today’s skinny jeans, striped basketball pants and hairstyles that include shaved line designs and manbuns. I found the blended sets and costumes a bit confusing at first, but it does work. Perhaps the modern-esque makeover is done to remind theatergoers that racism didn’t just take place way back when but is also present in today’s world and that there is still plenty of work to do.

Brett Thiele as Riff and Yurel Echezarreta as Bernardo in West Side Story at Lyric Opera House. Photo by Todd Rosenberg.

This production has a special cast. Audience members are treated to sensational vocal performances by Ryan McCartan as Tony, Kanisha Feliciano as Maria. Both McCartan and Feliciana have show-stopping moments during their vocal performances and their chemistry feels natural. Lyric hits the jackpot with both and McCartan and Feliciano’s performances. While McCartan’s beautiful rendering of “Maria” is vocally superb and heartfelt, Feliciano’s captivating performance of “Somewhere” also delivers in grand fashion. Both have tremendous range and seem to effortlessly take their voices wherever they need to go.

Maria!
I've just met a girl named Maria,
And suddenly that name
Will never be the same to me
Maria!
I've just kissed a girl named Maria,
And suddenly I found
How wonderful a sound can be
Maria!
Say it loud and there's music playing,
Say it soft and it's almost like praying

Amanda Castro thoroughly embodies the strength of Anita, Bernardo’s girlfriend, and wows us with both her voice and her skilled dancing ability, particularly when leading the Shark Girls in a colorful rendition of “America”. Brett Reile as Jets leader Riff and Yurel Echezarreta as Bernardo also play key roles in making this production as great as it is. Reile’s Riff is edgy and street tough perfectly personifying the “When you’re a Jet you’re a Jet all the way” modus operandi, while Echezarreta gives us a Bernardo who can go toe-to-toe with anyone. Of course, the ensemble is pivotal to the show’s success and this ensemble is just incredible and awes the crowd in one huge dance number after another.

Conducted by James Lowe and directed by Francesca Zambello, Lyric gives us a fresh take on the classic smash hit that audiences have been enjoying for the 60-plus years. West Side Story is a production for everyone. Its message of coming together still resonates today, and its fulgurous dance numbers and song performances will never become dated.

This brilliant production of West Side Story is being performed at the Lyric Opera House (20 N. Wacker Drive, Chicago) through June 25^th. The running time is 2 hours and 30 minutes, which includes one intermission. For tickets and/or more show information, click here.

Highly recommended.