Displaying items by tag: Christopher Wheeldon

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.  

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.

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/! 

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. 

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