Displaying items by tag: Christopher Wheeldon

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.

Chicago is in for a real treat. And based on the full theater at last night’s opening, I think most expected this production would be something special – and it is. MJ the Musical is a lavish production based on Michael Jackson’s amazing life that engages its audience from beginning to end and it is now playing at the James M. Nederlander Theatre through September 22^nd.  

This MJ Estate approved production mainly focuses on the rehearsals just prior to the wildly successful 1992 “Dangerous Tour” that toured in multiple countries and grossed over $140 million (in the 1990’s!). What some might now know that is explained in the play is that was a make-or-break tour for Jackson. Worried that he was on the cusp of losing relevance with old and new music listeners, MJ put everything he had into this tour leveraging his precious rights to The Beatles songs he owned and eventually mortgaging his prized Neverland Ranch to finance the endeavor, but also pushing his physical abilities and stamina to the limit. When his nervous advisors caution him about the money that is at risk with the magnitude of the tour and that he is “hemorrhaging money”, Jackson simply responds with, “We’ll get it back.” In MJ, we get a firsthand look at the pressures that Michael was under to make this tour succeed while revealed in this musical are the underlying factors that ultimately contributed to Jackson's untimely death – factors which are poignantly touched on regarding his dependency of opioid painkillers that he feels are key in helping him to push on beyond his parameters.

The story really unfolds when Rachel, a fictional reporter well played by Mary Kate Moore, is invited to interview Jackson while he is preparing for his Dangerous Tour in 1992. MJ, along with his handlers, prefer to keep the interview light with an aim solely on his music. But Rachel is determined to get a more in-depth interview stating it’s been years (14 was her estimation) since he’s really opened up to a reporter. In interviewing Michael over the course of two days at his rehearsals, more and more is revealed and the story travels back and forth from the 1992 tour to his past where it all began when he was just a young boy singing with the Jackson Five – a turbulent time for the talented singer, thanks to his abusive father, Joseph Jackson (Devin Bowles). Joseph managed the band comprised of his children and was beyond a perfectionist, pushing young Michael and his brothers to a never attainable standard for most. He is portrayed as strict, a womanizer who had no problem using his hands on his family to get his point across. We clearly see from this production where Michael gets his never-ending drive to perform at the highest level, even if it means taking pills to cope with the stresses of achieving that kind of success.

Roman Banks is STUNNING in his role as Michael Jackson during the 1992 rehearsal scenes. Banks’ voice has an uncanny likeness to Jackson’s and his dancing is nothing less than spectacular. Banks performance as MJ is worth the price of admission alone. Brandon Lee Harris also shines as in between Michael that takes place during his later days with The Jacksons through MJ’s super breakout “Thriller” album. Both Harris and Banks take turns impressing the audience with an astonishing representation of Jackson at different ages, while not to be forgotten is Ethan Joseph and Josiah Benson who share the role of young Michael on alternating show performances – also spectacular.

Four actors of varying ages are perfectly cast to portray Jackson as a child, young adult in The Jackson Five era and during the “Dangerous Tour”.  These actors have mastered Jackson's trademark vocals for their period along with his highly skilled dance techniques. I was absolutely blown away by each actor portraying him.

This play with book by Lynn Nottage is wonderfully directed by Christopher Wheeldon, who also exceptionally handles the production’s choreography. This is a show filled with exciting visuals, sounds and awe-inspiring scenes. The choreography and lighting effects during the scene where Jackson's study of Bob Fosse, Fred Astaire and The Nicholas Brothers are represented during a fantastic mesmerizingly choreographed dance sequence by Jackson and the entire ensemble – just one of so many beautiful moments in this musical.

Jaylen Lyndon Hunter as Little Marlon and Ethan Joseph as Little Michael with cast in 'MJ the Msucial'. Photo by Matthew Murphy, MurphyMade.

The stage design is marvelous and colorful and impressive, with exciting lighting effects created by Lighting Designer Natasha Katz that literally made the audience jump with surprise at least three times during this fast paced and upbeat retelling of Jackson's life. 

The ensemble is rich in talent with tremendous performances led by Devin Bowles who doubles as Joseph Jackson and Rob, the “Dangerous” Stage Manager and impressively switches personalities from that of a controlling abuser to a kind, caring employee of Michael’s almost instantly without a hitch. Also striking in their supporting roles are Josh A. Dawson as Tito Jackson and Quincy Jones, and Anastasia Talley as Ketherine Jackson and Kate. Jaylen Lyndon Hunter's star also shines brightly as Little Marlon.

This is a production that rocks in every way and fine tunes even the smallest details to give us an incredibly memorable experience. This is also a production that was stopped a handful of times throughout the performance as the audience took to their feet in ovation.

With big performances from Michael from the “Dangerous” era to the Soul Train days of The Jackson Five, this is one mind-blowing, highly energetic, colorful, and unforgettable production. Oh, and the soundtrack is as good as it gets with favorites being performed one after another including “Bad,” “Smooth Criminal,” “Earth Song,” “I’ll Be There,” “Man in the Mirror,” and “Thriller” to name a few.

MJ the Musical is a must see that does the King of Pop right and wonderfully honors the superstar’s legacy.

I highly recommend this exciting, inspiring, and satisfying production to audiences of all ages who wish to enjoy a night of Jackson's timeless music performed by some of the most gifted musical theater actors I have ever witnessed on a Broadway in Chicago stage. 

MJ the Musical is being performed at the James M. Nederlander Theatre though September 2^nd. For tickets and/or more information click here.

Each season Joffrey Ballet Company presents a show comprised of works of various influential artists; this winter’s repertoire is a worldly combination of five works by four contemporary choreographers: British-born Christopher Wheeldon’s Commedia, Israeli choreographer Itzik Galili’s Mono Lisa and The Sofa, Chicago’s Stephanie Martinez’ Bliss!, and Chicago premiere of Justin Peck’s The Times Are Racing.

Opening the performance is Commedia (created in 2008), which takes us to the French-influenced 1920’s world of dance. For this piece, Christopher Wheeldon drew inspiration from Igor Stravinsky’s “Pulcinella Suite”, which was originally composed in 1920 for a ballet featuring harlequin costumes by Pablo Picasso. Commedia is the longest piece of the evening, with several scenes set to the beautiful, albeit occasionally disturbing, Stravinsky’s music. It starts out with a group dance (Sinfonia) which sets the tone for a gorgeously expressive and athletic ballet. Dancers are wearing very Picasso-ish black and white harlequinade costumes designed by Isabel Toledo, which also bring out the whimsical nature of Wheeldon’s choreography. This ballet is mesmerizing in its entirety. Pas des deux dances (such as Serenata by Brooke Linford and Yoshihisa Arai, and Gavotta by Gayeon Jung and Edson Barbosa) all have some hypnotic fluidity that takes one’s breath away. The ballet’s highly creative choreography is only matched by Joffrey dancers’ exquisite skills, resulting in a piece that is simply stunning.

After the first intermission, the next three pieces are united by a common theme of modern courtship. Mono Lisa and The Sofa, both choreographed by Itzik Galili, playfully explore the nature of romantic relationships. Mono Lisa, created in 2003, features the fabulous Victoria Jaiani and Stefan Goncalvez. He likes the girl; she plays hard to get – the old game of cat and mouse. Percussive sounds of an old typewriter set to a cool bit (original music by Itzik Galili and Thomas Hofs) create intensity, as in some futuristic tribal music.  Completed by the dancers’ precise moves and skilled acrobatics, Mono Lisa is decisively void of any romantic quality. This is further enhanced by the set design consisting of steel frames and bright lights.

 Galili’s second piece of the evening, The Sofa, has certain elements of a pantomime. The sofa on the stage becomes piece de resistance, where the couple fights for space and independence. The boy is a little aggressive towards his girl, but then he gets a taste of his own medicine in a comical gender-reversal twist half-way through the dance. Danced by Temur Suluashvili, Anna Gerberich and Fernando Duarte, it’s a fun and highly energetic piece set to music by Grammy Award-winner Tom Waits.

Included in the program is Chicago choreographer Stephanie Martinez’ ballet The Bliss! which she created for the Joffrey Ballet Company as a part of an Igor Stravinsky evening. For this piece, Martinez was inspired by Mildred and Robert Bliss who commissioned Stravinsky to compose Dumbarton Oak Concerto for their 30^th wedding anniversary. On stage there’re six handsome topless male dancers, possibly looking for a testosterone-fueled action. A pretty girl enters and a scene out of Michael Jackson’s video “The Way You Make Me Feel” immediately comes to mind. It’s a mating game, no doubt, full of flirt and seduction. A beautiful as well as an interesting piece whose many different flavors and textures develop as it moves through Stravinsky’s music.

The program concludes with The Times Are Racing, Justin Peck’s so called “sneaker ballet” for 20 dancers. Dancers wearing street clothes (costumes by Humberto Leon) including shirts with word-messages such as “defy”, “change”, “protest”, “shout”, and “fight”, move with purpose and grace. Set to the last four tracks of Dan Deacon’s album America, it’s a very youthful and explosive ballet, which draws its inspiration from a variety of dance styles. Featuring an incredibly expressive dancer Edson Barbosa, as a boy lost in the city, exploring and seeking, trying to learn and ultimately fit in.  

Through February 23rd

http://joffrey.org/

The Joffrey Ballet opens 2018-2019 season with the return of choreographer Christopher Wheeldon’s modern re-telling of Swan Lake to the Auditorium Theatre four years after its first premiere in Chicago in 2014.

Composed by Pyotr Ilyich Tchaikovsky in 1875-77, it was originally a ballet in two acts, named The Lake of the Swans. Choreographed by Julius Reisinger, it premiered in Moscow’s Bolshoi Theater in 1877 but was poorly received by the critics. Nearly twenty years later, the music score undergone changes by Riccardo Drigo, who added various other Tchaikovsky’s pieces to the original score for the choreographers Marius Petipa and Lev Ivanov's 1895 revival of the ballet, consequently re-named Swan Lake and performed in four acts.

Christopher Wheeldon’s masterful re-telling of Swan Lake is based on that latter version of the ballet, as well as Edgar Degas’ paintings circa 1870’s, of the Paris Opera backstage, where ballet rehearsals were often attended by the male patrons of the arts.

In Wheeldon’s version of Swan Lake, the story begins at the Paris Opera during the rehearsal for the opening night of Swan Lake. The Principal Dancer who portrays Prince Siegfried in the classical ballet gets so lost in the ballet fantasy, that his world becomes full of illusions. Fantasy is superimposed on reality until he can no longer distinguish between the two. In love with his beautiful dance partner, he’s painfully aware of the advances of the Patron who is always lurking around during the rehearsals, making unsavory proposals to ballerinas. In his mind, he turns into prince Siegfried, and finds himself at the lake, where he sees a beautiful maiden telling him that she had been cursed by an evil sorcerer to stay in swan form during the day until someone falls in love with her. He imagines that the maiden is his dance partner and the sorcerer is the patron.

The technical skills of Dylan Gutierrez as Siegfried are truly superb; his dancing is as beautiful as it is emotionally charged. Odette/Odlie’s role is danced by the magnificent Victoria Jaiani, who is floating on air, like she always does, effortlessly performing the most highly technically challenging pirouettes.

By the Second Act, the ballerinas so perfectly capture the essence of the swans, they seem to have lost their human form and become transformed into birds. This resemblance and the white costumes of ballerinas separate Siefried’s fantasy from reality in the ballet. In the Third Act, it’s back to reality: the stage comes alive with action; it’s a gala evening to celebrate the new production of Swan Lake. The fancy legwork of the cheerful Pas De Quatre (The Dance of Little Swans) does not disappoint; beautifully performed by Anne Gerberich, Jeraldine Mendoza, Edson Barbosa and Greig Matthews. Followed by the sexy Russian, Spanish, Czardas and Burlesque dances, the colorful costumes (by Jean-Marc Puissant) are in stark contrast to demure lakeside scene; this party is so much fun. Chicago Philharmonic Orchestra led by Scott Speck blends Tchaikovsky’s music with dance so perfectly that not a moment is out of sync; it’s divine.

Joffrey’s Corps de Ballet indisputably consists of world class dancers whose technical skills and ballet mastery make every performance exquisite; every one of their moves is executed with razor-like precision. Combined with brilliant Wheeldon’s choreography and gorgeous Tchaikovsky’s music, Swan Lake is a treat for the senses. In short, it is magnificent.

For more information on this beautifully executed production, visit www.joffrey.org.

A delightful winter holiday ballet staple, Joffrey’s The Nutcracker gets a make-over by Tony Award-winning choreographer Christopher Wheeldon and Joffrey’s Artistic Director Ashley Wheater. The all-American all-Chicago version that premiered last December at The Auditorium Theatre takes us to a very exciting time in our history: 1892, five months before the World’s Fair in Chicago is set to open (story by Brian Selznick). Though the circumstances are different, creators of the ballet kept many elements of the original story by E.T.A. Hoffmann, and most importantly, the spirit of Christmas, intact. No more rich children and their fancy Christmas party with expensive presents - we’re back to the real world. Marie is from a poor immigrant family; she lives with her widowed mother, who is a sculptress working on the golden Statue of the Republic for the Columbian Exposition, and a younger brother Franz. The construction is in full swing and employs mostly immigrants from around the world.

In Act I the workers come to Marie’s house bearing food and drink for a lively Christmas celebration. Three musicians [from the orchestra] are invited on stage to accompany the dancing, much like it would be in those days. Marie is performed by very talented Amanda Assucena, a remarkably expressive ballerina; her gestures are all we need to understand what’s happening in the story. When a mysterious man who designed The World Fair and is known as The Great Impresario (Miguel Angel Blanco), shows up at the party, he captures everyone’s imagination with his visions of the completed Fair and gives out Christmas gifts. Marie receives a toy Nutcracker, and she couldn’t be happier. When she goes to bed that night she dreams that her new favorite toy leads an army of soldiers against a pack of rats who invade their shack and are always around in the streets (doesn't that sound painfully familiar, at least to Chicago city dwellers?). After she saves her Nutcracker from being eaten by The Rat King, he promptly turns into a handsome Prince. Whimsical costumes, gorgeous set and wonderful puppetry make for very enjoyable ballet experience  and a long cast of characters danced by children adds even more charm to the ballet.

Joffrey Ballet dancers are unquestionably world class masters, and this production showcases its many talented members. Victoria Jaiani who dances the parts of both Marie’s mother and The Queen of the Fair couldn’t be any more graceful and is always quite marvelous.

In Act II Marie, the Prince and The Great Impresario sail to the World Fair in a gondola where the Queen of the Fair (Victoria Jaiani) takes them to different pavilions where countries are represented by their dances – exotic Chinese and Spanish Dances are great, Buffalo Bill’s Wild West Show is really fun too, but then there’s the sexy Arabian Dance. Here Weeldon’s brilliant choreography is masterfully executed by Christine Rocas and Fabrice Calmels ; watching them dance is like eating some exquisite dessert that you wish would never end. It’s that good.

Somewhere towards the end of Second Act the drama of Tchaikovsky’s music gets lost in the romantic love dance of The Great Impresario and The Queen of Fair and leaves us longing for something else, but that’s easy to get over.

Live score is provided by Chicago Philharmonic Orchestra under Conductor/ Music Director Scott Speck.

The performance can be seen at Auditorium Theatre and runs two hours and twenty minutes and includes a twenty-minute intermission. For more information on Joffrey Ballet's The Nutcracker visit www.joffrey.org. 

‘S wonderful. “An American in Paris” was the surprise hit of 2015 on Broadway. It is of course the stage adaptation of Vincent Minnelli’s 1951 Best Picture winner of the same name. With familiar songs by George and Ira Gershwin, it would be hard not to be charmed.

To appreciate this “new musical”– you need to go back to a simpler, post-war era. Musicals were essentially plotless vehicles for stars like Gene Kelly and Judy Garland to showcase their talents. If some of the songs sound recycled here, that’s because they were. Often Cole Porter, Irving Berlin and the Gershwins repurposed their songs for multiple films. If it’s not broken, don’t fix it.

The stage musical devised by Craig Lucas and Christopher Wheeldon is fairly standard. While it may not be a reinvention of the wheel, it artfully pays homage to Vincent Minnelli’s lush style. Wheeldon’s ballet-flavored choreography is beautiful. The playfulness is tres Francais. Sometimes when a show hits the road, the production has to sacrifice some visual elements for the sake of portability. Not the case here. It’s impressive how well the vivid set pieces and projections travel. Visually, this “American in Paris” is stunning.

Sara Esty in the role as Lise evokes the spirit of a young Leslie Caron who starred in the original. Esty has been with the production since its conception at the Theatre du Chatelet in Paris. Though, her dialogue is sparse, she’s a lithe dancer and thoroughly adorable. Her co-star McGee Maddox takes up Gene Kelly’s role as Jerry Mulligan. What he loses in convincing line delivery he more than makes up for with impressive dance.

If you’re asking yourself, why “An American in Paris” or why now? Why not is a good answer. This show endures because it casts a heartwarming spell over audiences from varied generations. It may not be the most poignant musical, but for the nostalgia lover or Francophile this is sure to bring a smile to your face.

Through August 13 at The Oriental Theatre. 24 W Randolph. Broadway in Chicago

There's nothing more cloying than an evening of bad holiday theatre. Each December countless Chicago theaters put up their annual Christmas shows. Some are better than others. For a reliable standard, Joffrey Ballet's "Nutcracker" is a safe bet.

For 2016, Joffrey presents an entirely new version of the classic Tchaikovsky ballet. Conceived by English choreographer Christopher Wheeldon, this new production is sleek and tailor-made for Chicago. An interesting variation on ETA Hoffman's original Russian fairy tale. In this version, Marie is from a working class family and it's set during the construction of the Chicago World's Fair. The dance sequences in the second act are Clara's dreams of what the Columbian Exposition will hold. Wheeldon's aesthetic borrows from holiday favorites like "A Christmas Carol" and "Meet Me in St. Louis" Sets by Julian Crouch combine the classic imagery of the original and newer conventions like projections. Accompanied by the Chicago Symphony Orchestra, this "Nutcracker" is a little more grown up than the pastel versions you might remember.

The talent will be of no surprise to Joffrey regulars. Dancing the part of Marie is Amanda Assucena. Her performance portrays the lead character with a more teenage curiosity about romance. Miguel Angel Blanco dances a variation of Uncle Drosselmeyer, otherwise known as the Impresario of the Fair. It's playful and a little creepy. In the dream sequence, Christine Rocas and Fabrice Calmels turn up the heat as the Arabian Dancers. Wheeldon's choreography creates quite a spectacle and the large cast sequences are magical.

For those bored with run-of-the-mill "Nutcrackers" (a dime-a-dozen this time of year), this brand new production at The Joffrey will leave an impression. It's refreshing to see a local cultural institution take what they know works and turning it on its head. If only more of Chicago's tried and true holiday shows would take the same path, maybe we wouldn't dread them so much.

Through December 30th at Joffrey Ballet. 50 East Congress Parkway. 

The four performances that comprise “New Works” are also presented in a new venue for the Joffrey Ballet, The Cadillac Palace Theatre. Fitting, for the spring program which highlights four contemporary choreographers and leaves theater goers energized and refreshed. Joffrey’s usual home, the Auditorium Theatre, was being used for the NFL Draft, causing the temporary venue change.

Justin Peck, hailing from the New York City Ballet, holds up to his reputation with “In Creases” as the opening performance. The stage, outfitted with just two pianos, creates the perfect blank pallet to showcase the dancers. Outfitted in light grey, this piece takes all distraction away from the viewer, leaving you to appreciate the dancers ability, athleticism, and passion. The live pianos only amplify the risk of performing such a vulnerable piece. With nothing on stage to distract the viewer, any small mistake would be easily noticed, though the Joffrey ensemble danced this perfectly.

“Liturgy” is a brilliant pas de deux from Christopher Wheeldon, with the dancers exuding chemistry and pure passion. It is one of those pieces where you can feel the dancers’ love for what they do. Jeraldine Mendoza and Fabrice Calmels, while physically almost complete opposite, Calmels being an easy head and shoulders taller than Mendoza, the two are perfectly in sync and graceful throughout the entire performance. At parts, it is almost as though the two are connected by strings they are so perfectly timed with one another. The excitement and power coming from the stage is infectious and makes the viewers heart race.  

The story of an anguished poet in “Evenfall” is a romantic progression of a relationship, from the first days through to the later years. The stage is outfitted with four mirrors through which the poet views the couple. The poet seems to be contemplating the relationship, and struggling to do so, as though he is reflecting on what once was and possibly what could be. Once again, Fabrice Calmels is commanding as one half of the older couple, amazing the viewers with his ability to be so fluid and soft. The piece is emotionally charged and gives the dancers a chance to showcase not only their technical ability, but their acting chops as well.

The final performance, “Incantations” by Val Caniparoli, was originally created for the Joffrey in 2012 and is nothing short of thrilling. The high paced and demanding choreography cannot be ignored. The dancers outfitted in tan costumes with flashes of red are mesmerizing as they own the stage. The focus of the performance is on constant and different pirouettes and turns leaving the viewer in awe. Joanna Wozniak and Dylan Gutierrez make a dynamic pair that is thrilling and powerful in every turn.

Joffrey’s “New Works” is just as hopeful and fresh as one would expect. The Cadillac Palace Theater provides a beautiful historic backdrop to the contemporary choreography of these four performances. The Joffrey Ballet once again put together an amazing performance and a great way to kick off the spring season.  

For tickets and/or more show information, visit http://www.joffrey.org/newworks.