Displaying items by tag: Civic Opera House

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 

My major reaction to the Joffrey Ballet’s Fall season opening is deep gratitude: I feel privileged to have seen BEYOND BORDERS. I need to offer a caveat: I love ballet, but I know very little about it. Please, look to the experts for a technical critique. I offer only what I saw and how I feel about it.

BEYOND BORDERS includes three works, beginning with a revival of Liam Scarlett’s “Vespertine”, with Joffrey Cofounder Gerald Arpino’s 1978 classic, “Suite Saint-Saëns” in conclusion.  Both are exquisite in their own ways, but both are also, to my mind, upstaged by the world premiere performance of “colōrem”, from the brilliant up-and-coming choreographer Chanel DaSilva, whose 2020 ballet, “B O R D E R S”, also premiered with the Joffrey.

“colōrem” goes BEYOND BORDERS in so many ways, not the least of which is being the first mainstage work created for the company by a Black woman. As its title suggests, “colōrem” is all about color, like so many of the extraordinary topical works appearing in the 2022-23 Season. It features two sets of dancers wearing unitards (turtlenecked and including gloves and shoes) of glaringly divergent scarlet and charcoal gray, effectively blotting out both their genders and their very humanness.

The Reds and the Grays are separate and subtly discordant, reminiscent of the Sharks and the Jets … or of two rival tribes. This tribal aspect is augmented by the angled, decisive movements and by the precise, driving music by Cristina Spinei. The company’s accuracy and consonance is such that at times I couldn’t tell how many dancers were onstage until one of them moved, repeatedly forming landscapes that would be equally stunning captured in still photography.

Nicole Pearce’s lighting design is used dramatically: curtains, dividers, are created with different colored lights. One of my favorite moments is when a sliver of red light appears along the floor at the back of the stage, and Red dancers wriggle out of the red light onto the stage.

Equally compelling is Liam Scarlett’s “Vespertine”. The piece is unabashedly sensual, enhanced by shadowy stage lighting and Renaissance music – including harpsichord and baroque theorbo, if you please. Michael Hulls’ lighting dimly illuminates the ethereal atmosphere with puffball clusters of bulbs suspended from the ceiling and radiating amber moon-tones.

I already mentioned the impact of the stark leotards in “colōrem”; the costumes in “Vespertine” are also intensely powerful. In accordance with Scarlett’s vision, the dancers wear burgundy and plum: knickers with long-tailed waistcoats, and corsets under extravagant floor-length skirts. The skirts are integrated into the choreography, accenting the sensual movements with swirls and flares of lustrous silk.  Halfway through the dance these sumptuous clothes are stripped away to flesh-toned leotards – as if we are being pared down to our essential selves. 

The final, showcase piece, “Suite Saint-Saëns,” honors co-founder Gerald Arpino’s Centennial Celebration. Camille Saint-Saëns’ music divides the piece into four movements: Caprice Valse, Serenade, Minuet, and Pas Redouble. Clearly earlier than BEYOND BORDERS’ other works, yet Rehearsal Director Suzanne Lopez ensures “Suite Saint-Saëns” remains fresh and original, as the Joffrey ever strives to be. The ballet demands superlative ensemble dancing, while individually highlighting nearly every dancer’s individual mastery – a daunting challenge that Joffrey abundantly meets. Choreographer Agnes DeMille describes the ballet as ‘like standing in a flight of meteors’ – rapid and energetic, demonstrating Arpino’s signature fusion of athleticism, musicality and beauty.   

In all the productions I’ve attended in 2022, the two silent years appear to have rekindled the artists’ creative drive, and they are lavishing upon us three seasons’ worth of talent in a triumphant revival. In BEYOND BORDERS the company is, as ever, gifted, but in this performance they go beyond … well, BEYOND BORDERS, each dancer giving their all to create a unified composition. 

Each piece features principal dancers: two pas de deux by Victoria Jaiani, Alberto Velazquez, Amanda Assucena, and Edson Barbosa in “Vespertine”; Xavier Núñez and Amanda Assucena throughout “colōrem”; and a pas de trois for Anais Bueno, Jeraldine Mendoza and Edson Barbosa in “Suite Saint-Saëns” – to mention only a few. Principals, however, are icing on the Company cake in BEYOND BORDERS; find a full cast list on the Joffrey’s website. As I said, I’m no expert, but I find nothing whatsoever to criticize in the artists’ work, dancers and musicians.

My companion, an experienced stage lighting designer, observed that in “Vespertine,” the puffball globes of lights reflect the varied spotlights. In a certain configuration the wires suspending the foremost centre globe are plainly revealed. As a lighting expert they found this quite distracting. Me, I didn’t notice, but their comment deserves recognition.

Some may find the tickets a bit pricey, but hey! – it’s the Joffrey at Opera Hall!  I personally guarantee that anyone attending BEYOND BORDERS will consider their money very well spent.

Playing at the Civic Opera House through October 23.

It deserves saying again:  Resplendent  … Transcendent … Provocative

VERY Highly Recommended!

Roger and Hammerstein’s “Carousel” is always a treat, and that holds true especially with Lyric Opera of Chicago’s current production at the Civic Opera House. A true spectacle of colorful sets, scenic backdrops and larger than life dancing choreography envelope brilliant vocal performances in the fun classic. Of course, the carousel itself is eye candy in itself.

Set in 1873 Maine, the story begins when two young females, Carrie and Julie, visit the carousel where they meet barker, Billy Bigelow. As a “barker”, Billy’s job is to convince crowd members to take a ride on the carousel and does so by shouting out catchy sell phrases and flirting with nearby girls. After Billy puts his arm around Julie for the duration of a ride, Mrs. Mullin, the widowed owner of the carousel ride, lets him go and tells him never to return. Out of work, Billy runs into Julie where a romance blooms and a relationship develops. As sweet and simple as Julie is, Billy’s exterior is tough and carefree. It’s not long after the two are married that Julie surprises Billy with the news that she is pregnant. Billy, already struggling with raising money for he and his wife, is approached by his ex-con, ne'er-do-well whaler friend, Jigger, who presents the idea of robbing Julie’s former boss- and killing him. Billy refuses but has to rethink the idea as he becomes more and more desperate.

There is an overabundance of musical talent in this fifty-plus member cast that provides one beautiful performance after another. In supporting roles, Jenn Gamatese is simply terrific as “Carrie Pepperidge” as is Matthew Hydzik as her love interest “Enoch Snow”. The two are particularly enjoyable when performing together in the numbers “Mr. Snow” and “When the Children Are Asleep”. Charlotte D’Amboise is sensational as “Mrs. Mullin” and gets to really show off her dancing chops in the show’s later afterlife scene – a surreal display put together just dazzlingly by the production team. Also contributing to the show’s beauty and elegance is Denyce Graves whose stunning vocals can be appreciated in “June Is Bustin’ Out All Over”. Laura Osnes plays “Julie Jordan” and delivers several breathtaking singing performances, most notably in her solo number “What’s the Use of Wondrin’”.

Taking the lead is Steven Pasquale as our conflicted, good hearted but troubled “Billy Bigelow”. Pasquale’s performance is just magnificent. From the show’s early duet that has Billy and Julie singing “If I Loved You” to each other, it was apparent this would be one special production. Pasquale leads this gifted cast with his amazing vocal prowess, heartfelt passion and just the right amount of bravado. Pasquale melts the audience with his finessed vocals, “The Highest Judge of All” being the perfect example.

Directed and choreographed by Rob Ashford and conducted by David Chase, Carousel is a classic that should be seen by everyone young, old and in between.

Carousel is being performed at the Civic Opera House through May 3^rd. For tickets and/or more show information, visit www.lyricopera.org/carousel or call 312-827-5600.