Displaying items by tag: Joffrey Ballet

The Joffrey Ballet has completed a major refresh of its Chicago-based home, The Joffrey Tower (10 E. Randolph Street), featuring interiors by Rubiostudio, and vivid environmental graphics by acclaimed artist & designer Bob Faust, renowned for crafting work with typography at its core, and showcasing visually-stunning examples of Concrete Poetry, courtesy of the national Poetry Foundation, also based in Chicago.  Together, this interdisciplinary collaboration of art, design, architecture, dance, and poetry aims to re-imagine Joffrey Tower as both a home for ballet and a living work of art; creating an environment as inspiring and dynamic as the Company itself.

Under the direction of Joffrey President and CEO Greg Cameron, Joffrey leadership began re-thinking the environment of The Joffrey Tower post-COVID, aiming to create an integrated campus within the Tower’s four floors to strengthen engagement between the Company Artists, its Grainger Academy of The Joffrey Ballet students, Community Engagement students, and administrative personnel. Key elements of the resulting $2.5 million restoration, funded by generous Joffrey supporters, include the creation of an industry-leading Health and Wellness center and the installation of new Harlequin Wood Sprung Floors. The project also expanded the Tower’s Anne L. Kaplan Costume Shop, the Grainger Academy lobby, and administrative facilities, adding meeting rooms and workspaces.

“To support their work on stage, it is of the utmost importance that our Company Artists and students are taken care of off stage, so we sought for Joffrey Tower’s surroundings to be mindful of both the artists’ physical and mental wellbeing.  A great deal of attention was paid to providing leading-edge fitness equipment and spa facilities in our expansive new Health and Wellness Center, along with offering a variety of comfortable and vibrant spaces for our artists to both individually renew and to congregate for camaraderie,” offered Cameron.

To carry out this first renovation since the Tower opened in 2008, the Company enlisted architect (and Joffrey Board Director) Elva Rubio and Corporate Concepts Inc. to facilitate the interior architecture. Rubio, founder of Chicago-based Rubiostudio, has over 30 years of experience in various practice fields, including urban design, interior design, design education, communications design strategy, and the built environment. 

“My firm clearly understood the assignment put forth by the Joffrey Board: to design a practical and functional floor plan that brings the administrative and artistic functions together, enabling a great exchange of energy and ideas. Given my 20 years as a supporter of the Joffrey, it has been an honor to help deliver a space that serves all the Company’s needs, and I’d like to think our design has created a ‘wonderful chaos’ of interactivity,” said Rubio.

Upon completion of the structural foundation, and with over 6,000 sq. ft. of wall space as his canvas, Faust then dramatically embellished walls throughout Joffrey Tower with his signature “Wallworks,” larger-than-life kaleidoscopically re-mixed photographs. Seeking to interpret themes of movement, the origin photos – now remixed in sizes up to 50 x 400 feet – ranged in subject from Joffrey rehearsal and performance shots to behind-the-scenes costumes and scenic props.

“Working closely with Elva and her team, the ‘Wallworks’ installation for the Joffrey is unique in that she made the decision early on to design the space, knowing there would be art activations throughout. Many of the usual design details were omitted in exchange for clean white space. I sourced imagery, not usually celebrated but no less critical to performance making, for its details, colors, and textures to create ever-evolving and ‘moving’ patterns across these key walls. Visitors will encounter fragments of costumes, props, backstage mechanicals, and even former advertising remixed into contemporary patterns to bring a definable visual identity to Joffrey Tower,” added Faust.

And, in furthering the Joffrey’s commitment to Chicago artists and culture, Faust’s colorful wall installations are accompanied by inspirational lines of poetry, designed as site-specific Concrete Poems, works that are as much a piece of visual art as they are poems.  Curated as part of a new collaboration between the Joffrey and the Chicago-based Poetry Foundation, incorporated into the environment are excerpts of work by six local poets: Alfonso Carrara, Tarfia Faizullah, Angela Jackson, José Olivarez, Anne Stevenson, and the former (and inaugural) Poet Laureate of Chicago avery r. young.  

The Joffrey Ballet concludes its 2025-2026 70^th Anniversary Season with the highly anticipated Chicago Premiere of Yuri Possokhov’s Eugene Onegin, a richly layered and deeply human exploration of love, loss, and redemption inspired by Alexander Pushkin’s poetic novel. From the acclaimed creative team behind Anna Karenina, Eugene Onegin—a co-production with San Francisco Ballet—features an original score by the award-winning composer, performer, and conductor Ilya Demutsky and an immersive set design that plunges audiences into the fragility of the human heart. Eugene Onegin is presented for ten performances only at the historic Lyric Opera House, 20 North Upper Wacker Drive in downtown Chicago, from June 4 to 14, 2026.

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 70 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 2025–2026 70^th Anniversary Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, Gallagher, The Florian Fund, Anne L. Kaplan, and Robert and Penelope Steiner Family Foundation. 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.

It was the flippant statement heard round the humanities. An errant comment, a sweeping generalization, and another dismissive remark towards the arts. While the internet might have lambasted the commentator, the commentary at its core is the erroneous belief or misunderstanding that the arts are a relic of a bygone era. Despite repeated talks of automating away human interaction and computers replacing all the creative elements of life, art, opera, ballet, and more thrive in Chicagoland. One cannot walk anywhere in Chicago without seeing works of art in all their forms, celebrated and muraled and inviting to visitors and locals alike. There is no truer testament to the lasting power of an art form than in its inclusive programs that empower the next generation, offering them time and space to captivate audiences of all generations. I can recommend no finer program than Winning Works, now playing at the Museum of Contemporary Art.

Winning Works is a mission-driven, access-oriented initiative that upholds The Joffrey Ballet's core values of “Joffrey for All.” Performed by students and trainees of the Grainger Academy of The Joffrey Ballet, the program provides opportunities for everyone, regardless of background, to experience, support, and participate in dance. The goal of the award is to recognize talented, emerging choreographers whose unique perspectives will inspire creativity in the form of original works of dance. Through Winning Works, the Joffrey aims to broaden access for artists who have been historically excluded from the art form and empower those who embody its values to shape the future of dance.

The Grainger Academy and Winning Works is the strongest example we have that ballet might change and grow and evolve with the times, but will never fade into obscurity. The performance at the Museum of Contemporary Art is itself an exhibit of movement, exploration, love, and light. Set against its contemporaries, Winning Works features incredible performances that leave you spellbound, each more unique than the last. Each performance features a brief introduction by the choreographer, detailing their reflection on the program and staging a performance offering a unique perspective only the artist themselves could give the audience. Audience members will love the contemporary movements of To Carry Our Own Names by DaYoung Jung, enjoy the whimsicality of Alexandra Schooling’s Hushed Power, shimmy and shake along with Daniel Ojeda’s Visitors, bask in the glow of the light and airy Eclat by Julia Feldman, and marvel at the uniqueness of Fran Diaz’s A Strange House We Must Keep. There is truly something for everyone, all performed by the incredibly talented young dancers who will no doubt grace the stages of the grandest theatres across the world.

For as many years as I have lived in Chicago, I have heard “the arts are dying,” that they are old-fashioned and outdated. Truth be told, it’s rarely heard from Chicagoans, mere projections from those who would never visit the city let alone entertain the arts. Like the many seasons (and false seasons) of this great city, the arts and humanities have their seasons of flourish and seasons of slumber. Like Spring itself, Winning Works ushers in the new season with new performances filled with light, love, and beauty. Commentators may come and go, but ballet and the arts will always stand the test of time.

Winning Works is performing for a limited run from March 13-15 and March 19-22 at the Museum of Contemporary Art (220 E Chicago Ave, Chicago). Tickets are available at https://joffrey.org/. As a bonus, audience members can show their Winning Works program book to receive a free admission voucher to the MCA, proving that the arts are inescapably intertwined and will always win.

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.

At this time of year, when Christmas lights begin to twinkle and colors of green and red illuminate throughout the city, I am nostalgically drawn to the ballet. To me, there is nothing so quintessentially magical as The Nutcracker ballet at Christmas time. I can hum, and chair compose the entirety of Tchaikovsky’s masterpiece. I can mark every step to every number of the two-act ballet (shout out to Inland Pacific Ballet). I can picture my grandmother sewing the principal dancers into their tutus, and my mother managing ticket sales and donning the mother-ginger costume. For me, the holiday and the ballet are indivisibly interconnected. And now that I’ve lived in Chicagoland for longer than my childhood in Southern California, there is something nostalgically familiar and magical about Christopher Wheeldon's kaleidoscopic reimagining of The Nutcracker, now playing at The Lyric Opera House.

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 representing countries from around the globe: the dazzling Golden Statue, the mystique of an Arabian enchantress, vibrant Venetian masked dancers, Chinese dragons, and Buffalo Bill's Wild West Show. This holiday season, enter the spellbinding world where history and dreams intertwine.

The Nutcracker Amanda Assucena and Hyuma Kiyosawa in Joffrey Ballet's The Nutcracker at Lyric Opera House.

Wheeldon’s The Nutcracker is set against the majesty of the 1893 World’s Fair of Chicago. Though remnants of the fair can still be found in buildings like The Museum of Science and Industry, the true grandeur and spectacle is lost to photographs, sketches, and our imaginations. The magic and marvel of the fair’s White City is rumored to be the inspiration for the Emerald City in his best-selling children’s book of 1900, The Wonderful Wizard of Oz. While there is no solid evidence to support this claim, it would make sense that the fair, where Cracker Jacks, the Ferris wheel, and electricity itself were debuted and displayed, could inspire a magical city of Oz. It’s that same magic that Wheeldon captures in the Joffrey’s production of The Nutcracker. The uniquely Chicago-centric production of the ballet features the familiar storyline of Marie and her family, though it focuses on the love story between The Great Impresario of the Fair, performed by Stefan Gonçalvez, and Marie’s mother, the sculptress for the Fair and The Queen of the Fair, performed by Gayeon Jung. It shows the humble working-class families that built the city itself in the first act, juxtaposed against the vibrant and colorful world of the White City in the second act. The humility and simplicity of one act contrasted with the majesty of the second, coupled with journeys across Lake Michigan, make this production equally familiar and relatable. To date, it’s still one of my favorite productions of the ballet, quintessentially Chicago and absolutely magical.

What I wouldn’t give to be a snowflake in the core, a worker at the fair dancing beneath the first Ferris Wheel, or simply a watcher from the wings of this beautiful ballet. At this point, I have seen and reviewed the play more years than I performed in the ballet, and I still get goosebumps when the tree rises, and the snow falls. Whether you are seeing it for the hundredth time, the tenth time, or the first, every Chicagoan should experience the Nutcracker. Experience the magic for yourself. The Nutcracker is playing now through December 28^th at The Lyric Opera House (20 N. Wacker Drive, Chicago). Do not overpay for Joffrey tickets! Beware of ticket resellers offering overpriced or invalid tickets. The Joffrey is the only official seller with the best prices, available at www.joffrey.org.

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

Wowza! If you're searching for one of Chicago’s must-see summer events, look no further. The Joffrey Ballet has done it again, this time taking Alice’s Adventures in Wonderland to electrifying new heights at the Lyric Opera House, delivering a kaleidoscopic whirlwind of dance, theatrics, and pure magic. Guided by the visionary genius of two-time Tony Award winner Christopher Wheeldon, this adaptation seamlessly fuses classical ballet with unexpected bursts of tap, mesmerizing stage illusions, and imaginative puppetry. Wheeldon is a visionary choreographer renowned for his ability to fuse classical ballet with theatrical innovation. His direction ensures that Alice’s Adventures in Wonderland is not just a ballet—it’s a mesmerizing demonstration of movement, storytelling, and immersive artistry that sweeps audiences into the bizarre yet enchanting universe of Alice in Wonderland created by Lewis Carroll. Set against the backdrop of Joby Talbot’s spellbinding score, Wonderland unfolds as a psychedelic dreamscape where the Mad Hatter defies rhythm, the Queen of Hearts commands the stage with regal ferocity, and the ever-dashing White Rabbit keeps the adventure racing forward.

From breathtaking choreography to vibrant storytelling, this production breathes new life into Lewis Carroll’s iconic world, transforming it into a sensory explosion of movement, wit, and wonder. Every leap, twirl, and dramatic flourish pulls audiences deeper into a surreal fantasy that is both enchanting and unforgettable.

Alice doesn’t simply fall into Wonderland—she plummets into a realm of delightful madness, where reason bends and imagination rules – and the special effects are simply mind-blowing! In this topsy-turvy world, she’s whisked into a dizzying adventure by the ever-hurried White Rabbit, who barely has time to explain anything before dashing off again. The Mad Hatter’s tea party is pure chaos, with logic thrown out the window and time behaving like an unruly guest. The Cheshire Cat appears and vanishes with an eerie grin, offering cryptic wisdom that only deepens the mystery. And the Queen of Hearts? She’s as unpredictable as she is temperamental, ready to declare, “Off with their heads!” at the slightest provocation.

From growing and shrinking in size to playing croquet with flamingos, Alice must navigate Wonderland’s absurd rules while questioning everything she thought she knew. This stage adaptation transforms Carroll’s whimsical world into a vibrant, theatrical spectacle filled with stunning visuals, witty dialogue, and playful surprises at every turn. It’s a stunning experience where reality dissolves and nonsense takes center stage!

Joffrey’s Alice’s Adventures in Wonderland dazzles at the Lyric Opera of Chicago with a glittering cast that breathes life into Carroll’s timeless fantasy. A rotating lineup of exceptionally talented dancers take on the iconic roles, ensuring each performance offers a fresh and dynamic interpretation of Wonderland’s whimsical inhabitants.

Alice, the fearless and inquisitive heroine, is brought to life by Amanda Assucena, Anais Bueno, Gayeon Jung, and Jeraldine Mendoza. The ever-hurried White Rabbit—portrayed by Stefan Gonçalvez, Dylan Gutierrez, and Zachary Manske—whisks Alice through a transformative series of adventures. Meanwhile, the commanding Queen of Hearts, played by Anais Bueno, Lucia Connolly, Olivia Dureya, and Victoria Jaiani, commands the stage with regal presence and just the right touch of mischief.

Edson Barbosa and Jonathan Dole embody the eccentric energy of The Mad Hatter, whose tea parties defy logic in the most spectacular fashion. Adding to the intrigue, Jose Pablo Castro Cuevas, Stefan Gonçalvez, Hyuma Kiyosawa, and Alberto Velazquez alternate as Jack, the charming Knave of Hearts entangled in the Queen’s unpredictable world.

On the evening I attended, Gayeon Jung mesmerized as Alice, bringing the character to life with fluid dance routines, distinctive charm, and effortless grace. Zachary Manske captivated the audience as The White Rabbit, embodying the role with quick, rabbit-like mannerisms, seamless movement, and a delightful urgency. Jose Pablo Castro Cuevas exuded elegance as Jack, The Knave of Hearts, while Johnathan Dole impressed with impeccable tap skills as The Mad Hatter. Yet, it was Anais Bueno’s portrayal of The Queen of Hearts in the third act, The Palace Gardens, that may have truly stolen the spotlight—her dance and expressive artistry were nothing short of breathtaking. With a great sense of sharp physical comedic timing, not often seen in ballet, she infused the Queen with a lively, commanding presence that had the audience cheering in admiration.

The set design for Joffrey Ballet’s Alice’s Adventures in Wonderland at the Lyric Opera House is a mesmerizing fusion of theatrical magic and whimsical artistry. With costume and scenic design by Tony Award-winning Bob Crowley, the production features vibrant stagecraft, surreal puppetry, and astonishing visual effects that transport audiences straight into Wonderland’s dreamlike world. From the ticking clocks that echo Joby Talbot’s hypnotic score to the larger-than-life characters brought to life through ingenious design, every scene is a feast for the senses.

Adding to the production’s already astonishing vision, conductor Scott Speck masterfully guides the Lyric Opera Orchestra through a rich, dynamic rendition of Joby Talbot’s score, elevating Wonderland into a truly enchanting theatrical experience.

Prepare to be swept into a world of breathtaking ballet, whimsical storytelling, and pure theatrical magic!

Alice’s Adventures in Wonderland at the Joffrey Ballet is a dazzling spectacle that captivates audiences of all ages, blending mesmerizing choreography with vibrant stagecraft. Whether you're a longtime ballet lover or simply looking for an unforgettable experience, this production promises thrills, enchantment, and a touch of Wonderland’s delightful madness.

Alice’s Adventures in Wonderland is being performed at Lyric Opera of Chicago through June 22^nd. Run time is 2 hours and 45 minutes, which includes two intermissions.

A brief but important note—as a disabled reviewer, I want to sincerely commend the Lyric Opera of Chicago and/or Joffrey for ensuring accessibility by assigning an usher to manage the first-floor restrooms, reserving them for handicapped and senior patrons who cannot navigate the stairs. Given the length of this delightful production and its two brief intermissions, this thoughtful accommodation makes a meaningful difference. 

Don't miss your chance to journey down the rabbit hole—secure your showtimes and tickets at the Joffrey Ballet’s official website here!

Recommeded for audiences of all ages.

*This review is also featured on https://www.theatreinchicago.com/! 

There is something magical about Chicago at Christmastime. Even if there is no snow on the ground, there is an energy in the atmosphere, peaceful and whimsical. Whether you take in the colorful zoo lights at The Lincoln Park Zoo, or stroll the Christkindl markets downtown, or ice skate in the shadow of Wrigley Field, there is magical nestled in every corner of the city. December winds bring a chill to The Windy City and signals the arrival of the holiday season with lights, cozy fires, warm drinks, and the most cherished of holiday traditions, The Joffrey Ballet’s The Nutcracker, now playing at the Lyric Opera.

For those who are unfamiliar with The Nutcracker, the fairy-tail-like ballet follows the story of a young girl named Clara who receives a nutcracker doll on Christmas Eve from a magical guest at the party. Clara's reality and dreams merge as she and her nutcracker embark on a magical adventure. The nutcracker transforms into a prince, and Clara and the prince travel to the Land of Sweets, where they meet the Sugarplum Fairy.

Joffrey’s Nutcracker follows a similar storyline with a magical Chicago twist. On a magical Christmas Eve, mere months before the opening of Chicago’s 1893 World’s Fair, Marie and her mother, a sculptress creating the fair’s iconic Statue of the Republic, partake in a festive celebration with a surprise visit from the mysterious Great Impresario. That evening, after awakening to an epic battle between Toy Soldiers and The Rat King, Marie is swept away by a Nutcracker Prince on a whirlwind journey to the dreamlike fairgrounds of the World’s Columbian Exposition with sprawling attractions represented by countries from around the globe. Set to Tchaikovsky’s classic score, The Nutcracker features a celebrated creative team, including two-time Tony Award®-winning choreographer Christopher Wheeldon, Tony Award®-nominated set and costume designer Julian Crouch, Caldecott Medal Award-winning author Brian Selznick, Obie and Drama Desk award-winning puppeteer Basil Twist, Tony Award®-winning lighting designer Natasha Katz and Tony Award®-winning projection designer Ben Pearcy. 

I have been seeing The Nutcracker every holiday season, moving from dancing in the ballet and watching in the wings, to the balcony seats to enjoy the performance. There is nothing quite like The Joffrey’s rendition of the classic ballet. The Chicago World’s Fair of 1893 storyline works incredibly well with the production, from the humble beginnings of fair workers and their families, a kind and wealthy benefactor bequeathing the nutcracker doll, and a dreamlike world with Clara exploring the World’s Fair and all it had to offer. The 1893 World’s Fair inspired Frank E. Baum, utilizing the famed White City of the fair to inspire the Emerald City of Oz in The Wizard of Oz. The fair introduced the world to the Ferris Wheel, brownies, cracker jack popcorn, and the zipper. There were countries and states represented that visitors could only dream to have visited, right in their own backyard. Historical documents and first-hand accounts mention how magical and awe-inspiring the fair was, it’s easy to see how The Joffrey could look at the fair as a backdrop to The Nutcracker and see magic.

But even with the artistic direction The Joffrey took, it still begs the question of why do we see the same performance year after year after year? Artistic Director Ashley Wheater, MBE pondered the same thing. “I have asked myself, ‘How can we make this a special experience for people who have seen the Nutcracker before and for those attending for the first time?’,” says Wheater. “Part of the beauty of this Nutcracker: it is a Chicago story! We set the scene during an important time in the history of our city: the World’s Columbian Exposition of 1892. We identify with the working spirit of the people. We understand that joy can be found in simple things. We appreciate that magic is all around us, if only we look. The real “magic” of this Nutcracker, though, is that it changes every time we watch it. Each of us in the audience is different. We have loved, lost, struggled, succeeded, grown. We bring our own story to the theater. The beauty of live theater is that no two performances will be the same.”

The year’s opening night of The Nutcracker was nothing short of magical. Joffrey’s current company has to be one of their best in years with outstanding principles including Amanda Assucena, the mother and sculptress for the Fair (the Sugar Plum Fairy) and Alberto Velazquez, the Great Impresario of the Fair, and the darling Anabelle de la Nuez as Marie (Clara) and Maxwell Dawe as The Nutcracker. Each scene is a feast for the eyes with the entire company dancing exquisitely amount wreaths, glittering snow, and before giant Ferris wheels. Whether this is your first time seeing The Nutcracker, or your hundredth, there is nothing in the world like Joffrey’s Nutcracker. It is truly one of a kind and the perfect addition to any holiday plans. But much like The World’s Fair of 1893, the magic won’t be here forever, so don’t delay and get your tickets today.

The Nutcracker is now playing at The Lyric Opera House, (20 North Wacker Drive, Chicago) through December 28^th. The Performance run time is 2 hours, includes one 20-minute intermission. Tickets are available at www.joffrey.org.

What source materials make a great ballet? Can everything be interpreted through dance? It’s a fair question when considering Joffrey Ballet’s new adaptation of Ian McEwan’s complex novel. This sumptuous co-production with Ballett Zurich is proof that the sky’s the limit when it comes to what’s possible on stage.

Those who have read the novel or are familiar with the 2007 Joe Wright film will certainly find the plot a bit easier to follow. However, through Cathy Marston’s fascinating choreography, the ill-fated romance leaps off the stage. ‘Atonement’ begins at the Tallis family estate in the English countryside during one sultry summer evening in 1935. Young Briony Tallis (Yumi Kanazawa) witnesses a sexual congress between her older sister Cecilia (Amanda Asssucena) and Robbie (Alberto Velazquez), the son of one of the servants. Later in the evening, her cousin is attacked in the dark by an unknown prowler. Assuming the incidents are related, she implicates Robbie and forever changes the course of his and Cecilia’s lives.

Ian McEwan’s novel endures as one of the most inventive books of the early 00s in part because of its unique story structure. Joe Wright honored that in his film version by showing the same scenes from various points of view. ‘Atonement’ the ballet takes a unique approach to narrative structure with the traditional act order somewhat altered.

‘Atonement’ is forthrightly erotic. Given the deeply romantic plot between Cecilia and Robbie, it’s imperative for the audience to believe their chemistry. And that chemistry is hard to deny. Amanda Asssucena and Alberto Velazquez move with fluidity that may put a little sweat under your collar. Afterall, not every ballet is ‘The Nutcracker’.

Laura Rossi’s score pulls every emotion to the surface. A buoyant, romantic first act is balanced out by the urgent sounds that simulate the horrors of WWII-era London in the latter half of the ballet. Along with artful staging by Adam Blyde and Anastacia Holden, ‘Atonement’ is a feast. From the costumes to the minimalist setting, this production oozes sensuality.

The Joffrey Ballet has a certain knack for literary adaptation. ‘Atonement’ is another installment in their archive of hits. Classic settings provide a perfect backdrop for provocative modern steps that take your breath away. ‘Atonement’ achieves romantic complexity without words, proving how universal feelings of heartbreak and longing are. 

Through October 27 at Joffrey Ballet, Civic Opera House, 20 N Wacker Dr. 312-386-8905 

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.

I’ve loved the Joffrey Ballet for almost its entire lifetime (it was begotten just two years after I was). My first memories of seeing the Joffrey Ballet in performance date back to … the Eighties? Seventies? Any road, I’m not a joanie-come-lately fan of the Joffrey Ballet.

The Joffrey never disappoints. I’ve reviewed Joffrey Ballet several times here at Buzz Center Stage and my reviews reflect this: Joffrey Ballet never disappoints. But saying the Joffrey Ballet never disappoints is inadequate to the task of launching a review of STUDIES IN BLUE. I was transported; I was captivated; I was ensorcelled and entranced. In short, STUDIES IN BLUE is the finest program I’ve ever seen Joffrey Ballet perform. 

But I can’t just say that and go on about my day, yeah?  Right then: STUDIES IN BLUE, how do I love thee?

Hungry Ghosts - The Joffrey Ballet Ensemble

The program is three acts, Yonder Blue, Hungry Ghosts, and Hummingbird. I’ve seldom seen three ballets more dissimilar, yet each in its own unique way uplifted and harmonized with the other two to compose a perfectly unified program. Wowie.  

I’m going to snatch this opportunity to thank Artistic Director Ashley Wheater, CEO Greg Cameron, and anyone else who played a part in re-homing Joffrey Ballet at the Civic Opera House. I’ve been seeing and loving shows at the Auditorium Theatre since the early 1970’s, and it’s still a magnificent venue. I, however, have gone a bit to seed over the years, and find the Aud just a leeetle bit challenging to navigate. COH is far more user-friendly now I’m no longer quite so spry. Thank you!  

Yonder Blue was choreographed by Andrew McNicol, premiering in 2019. Yonder Blue’s music was composed by Peter Gregson, performed by the Lyric Opera Orchestra, directed and conducted by Scott Speck. It was delightful, joyful and vivacious but without straying into cloying or syrupy. McNichol reminds us that ‘yonder’ is a word that wobbles, tangible yet hard to grasp.  Yonder implies distance – from here to there – yet it remains imaginary, as once you reach ‘there’ it becomes ‘here’, and ‘yonder’ again withdraws. Jack Mehler (Scenic and Lighting Designer), captures this from the opening curtain – the dancers are silhouetted against a misty sky of blues which is slowly covered by a solid backdrop, creating the illusion of the horizon receding into the distance 'over yonder' as we are drawn deeper into the piece. 

We feel that shifting sense of space and place through both McNicol's choreography and the exquisite execution of the dancers. At one moment their movements are creaky, fractured, straining, and the next they float weightlessly through impossible lifts. If you know me, you’ll know I’m very partial to boy-on-boy dance; McNicol did one better for me with a perfectly splendid pas de trois featuring Jonathan Dole, Alberto Velazquez and José Pablo Castro Cuevas.  

‘Blue’ is another mercurial word, referring now to nature, now to human qualities and even emotions, from ‘feeling blue’ to bawdy ‘blue humor’. Yonder Blue encapsulates these many and disparate associations. The piece ebbs and flows, including an extended full-ensemble unison section which builds from a simple start of stationary forms to a full-stage cascade of whirling exuberance. 

An aside here: reading the program, I was marveling at the company’s diversity:  from Cincinnati to Jacksonville, Indiana to Utah, from Cuba, Japan, China, Estonia, Brazil, Russia, Australia. This diversity was visually evident during Yonder Blue, exposing all that winter-white skin!   

I was excitedly anticipating Hungry Ghosts, choreographed by Stina Quagebeur, as this is the first performance art I’ve attended that is inspired by ‘one of the most seismic human tragedies of modern times’: America’s opioid epidemic. See, opioid addiction is my thing – for 35 years I’ve been an addiction psychiatrist working on the streets with needle exchange programs and other outreach to the human beings ravaged by this unspeakable disease. Unspeakable indeed – there is no advocacy for addicts, and a death toll exceeding 100,000 annually elicits much editorial handwringing but virtually no direct action: jail is still, by several orders of magnitude, the standard (affordable/available/accessible) treatment for addiction.

Sorry, I just couldn’t hold that in. I’ll step down from my soapbox and return to Quagebeur’s far more eloquent litany. Her fittingly titled Hungry Ghosts has it all:  hope and longing, failure and despair, ambivalence and impotent rage and resignation. The disease is embodied by Anais Bueno and Hyuma Kiyosawa in a running pas de deux while the company animates the course of the disease: the swoop to dizzying heights and the inevitable plummet into the Slough of Despond. Jack Mehler’s brilliant Scenic and Lighting Design made ingenious use of vertical scrim panels to portray the addict’s isolation, the urgent necessity but lack of community; hunger and destitution and craving and loathing … all so poignantly expressed by Quagebeur’s choreography and the dancers’ mastery. 

Jeremy Birchall’s music was absolute perfection: alternately discordant and mellifluous; simultaneously strident and harmonic. I trust I’m not trespassing when I say that clearly neither Quagebeur nor Birchall learned about addiction by reading about it in a book – their intimate sophistication can only be gained the hard way. Thus, Quagebeur doesn’t succumb to the banal platitude of wrapping it all up with a pretty bow; rather, the ending reflects the ambivalence and uncertainty of the disease itself; death is the sole unequivocal outcome.  I was leaking tears by the end and was so glad for the standing ovation Quagebeur received for this world premiere performance – may her work advance to stages worldwide!

I was grateful for the intermission as I definitely needed time to recover after Hungry Ghosts, and my ballet buddy and I agreed to be underwhelmed by the final ballet, Hummingbird. I guess Hungry Ghosts rattled us enough to forget the cardinal rule: the Joffrey Ballet never disappoints.

Hummingbird - The Joffrey Ballet Ensemble

Liam Scarlett choreographed Hummingbird, and Lauren Strongin staged it a bit differently to the first two offerings. While Jack Mehler was Scenic and Lighting Designer for both Yonder Blue and Hungry Ghosts, David Finn’s lighting and John MacFarlane’s Scenic and Costume Design imparted a very different tableau for Hummingbird. Check out the photo – your eyes are not deceiving you; the stage truly is tilted up sharply at the rear, creating unique entrances and exits against the abstract backdrop.

Philip Glass’ music animates nine couples, in pas de deux and in company, into choreographed movement that comes from deep within: “Like an earthquake epicenter it ripples out… It has a human quality because it’s using everything you have.” Scarlett plays with our expectations – like an actor breaking the fourth wall with an aside to camera, he 'breaks' the dancers into unexpected movement. The ensemble entering with gracefully pointed limbs, only to crouch into a quick, flat-footed run-in-place garnered quite a few chuckles. Ending a fraught and emotional pas de deux with the dancers bent over and gasping for breath rather than perfectly poised added an emotional punch of realism.

I mentioned at the outset how these three pieces harmonized with each other - the treatment of the pas de deux by each piece offers a prime example. In Yonder Blue it was thematic, in Hungry Ghosts, narrative. In Hummingbird, the pas de duex sits somewhere in between - evocative, intertwining, and emotional as they thread their way in and out and around and through the ripples of movement around them.

Joffrey Ballet will perform STUDIES IN BLUE until February 25 on Thursday, Friday, Saturday evenings, and matinee shows on Saturday and Sunday, so you have no excuse to miss it! 

JOFFREY BALLET STUDIES IN BLUE at the Civic Opera House through February 25

VERY HIGHLY RECOMMENDED!!

Review by Sarz Maxwell with thanks for assistance from Eva Hare