Displaying items by tag: Ballet

Immerse yourself in the enchanting wonder, vibrant magic and joyous celebration that is Mexican folkloric dance when Ballet Folklorico Quetzalcoatl presents its 43rd Anniversary Concert, Thursday, July 30 at 7:30 p.m. at Paramount Theatre, 23 E. Galena Blvd. in downtown Aurora. 

Experience the charming, diverse folkloric dance styles of Mexican culture, cultivated right here in the Fox Valley. Tickets are $27-$32. For tickets and information, visit ParamountAurora.com call (630) 896-6666, or stop by the Paramount Theatre box office, 23 E. Galena Blvd. in downtown Aurora, 10 a.m. to 6 p.m., Monday through Saturday, and until show time on show days. Children two and under are admitted free. *Prices are for in-person purchases. Additional fees apply for phone and online orders.

Based in Aurora, Ballet Folklorico Quetzalcoatl is an internationally celebrated Mexican folk dance troupe that has delighted audiences for over 40 years around Illinois and as far as Mexico with its colorful costumes, wonderful music and electrifying choreography. The group originally formed to meet the need to preserve one of the most important aspects of Mexican culture, the folkloric dance. Juan Manuel “Nery” Cruz, originally from San Luis Potosi, Mexico, is the group’s director and choreographer. 

The name "Quetzalcoatl" originates from the ancient Mexican and northern Central American civilizations. It means “snake or serpent with feathers of quetzal,” which implies something divine or precious in the Nahuatl language. Quetzalcoatl was also the god of wisdom of the primitive Mexicans, a god of the air, or sun-god, who instructed them in the use of agriculture and metals.

Don’t miss this magnificent community celebration of Mexico’s rich culture, an amazing pageant of dazzling costumes, infectious music and high-energy traditional folklore dance numbers still performed in the villages of Mexico’s different regions. For more, visit bfquetzalcoatl.org.

There’s something magical about stories. Stories have the power to transcend time, reaching across the centuries to share their thoughts, ideas, and emotions. Tales of heartbreak, anguish, squandered youth, and missed chances written in the 1800s have a way of resonating with us in the modern age, the profound emotions perfectly encapsulated in the prose. The magic happens when that story is lifted from a page to be retold in a new medium for modern audiences to hear and see. In my opinion, there is no finer example of this transformation than what is currently showing at The Lyric Opera House in Chicago, The Joffrey’s Eugene Onegin, now running through June 14^th.

The ballet tells the story of Eugene Onegin, a wealthy but disillusioned aristocrat, who is disenchanted with both city and country life. He ventures to the provinces after inheriting his uncle’s estate, restless and indifferent. There, Eugene joins his friend Vladimir Lensky on a visit to his fiancée Olga’s home, where he is introduced to the family, most notably her sister Tatiana. Tatiana is drawn to Onegin’s aloof sophistication and quickly falls in love. She writes him a heartfelt letter and, at dawn, asks her nanny to deliver it. Onegin rejects her, claiming he is unsuited to love or marriage. His refusal deeply wounds Tatiana. At Tatiana’s name-day celebration, a bored Onegin flirts with Olga. Lensky, humiliated and jealous, challenges him to a duel. What begins as wounded pride leads to tragedy. Shakespearean passions of unrequited love, conflict of youth, and the dangers of careless actions play out in this classic tale.

Eugene Onegin is heralded as the foundation of modern Russian literature. Written over the course of eight years in the early 1800s, the novel revolutionized storytelling by blending romantic tragedy with social satire. Its main character was a cautionary tale of the superfluous man, one who is educated, wealthy, cynical, bored, and aimless, whose disillusionment leads to his own moral demise.

Told in four acts, the Joffrey masterfully brings Alexander Pushkin’s “novel in verse” to life through the medium of dance. Choreographer Yuri Possokhov and composer Ilya Demutsky not only capture that complex and bastardous character of Eugene, but also the wide range of emotions conveyed in this story. The adoration, resentment, rejection, joy, anguish, and regret are told through long, elegant lines, sensual pas de deuxs set to a musical score that perfectly captures the emotions of the four seasons the play moves through. Set against a breathtakingly simplistic provincial set, dancers clad in silks as delicate as the changing winds, and a not-love story performed superbly by Joffrey’s José Pablo Castro Cuevas and Victoria Jaiani (Eugene Onegin and Tatiana Larina, respectfully), the Joffrey have truly outdone themselves. It is one of their most visually captivating ballets. Said simply, Eugene Onegin is poetry in motion, a classic tale reenvisioned in the delicate yet powerful medium of ballet.

Hundreds of years later, the story of a charismatic yet pouty man who let his emotions hold him back while driving him towards his own demise still resonates with audiences today. Pushkin’s prose found a way to reach across the centuries and navigate Lower Wacker to make it to the Lyric Opera stage, where dancers bring the story to life. If that isn’t magic, I don’t know what is.

Eugene Onegin is now playing at the Lyric Opera House (20 N Wacker Dr, Chicago) through June 14^th. This is one story you don’t want to miss. Get your tickets today at Joffrey.org.

This review is proudly shared with our friends at www.TheatreInChicago.com. 

The Joffrey Ballet concludes its 2025-26 season with the highly anticipated Chicago Premiere of Yuri Possokhov’s Eugene Onegin, a richly layered and deeply human exploration of love, loss, and redemption inspired by Alexander Pushkin’s poetic novel. From the acclaimed creative team behind Anna Karenina, Eugene Onegin—a co-production with San Francisco Ballet—features an original score by the award-winning composer, performer, and conductor Ilya Demutsky and an immersive set design that plunges audiences into the fragility of the human heart. Eugene Onegin takes place for ten performances only at the historic Lyric Opera House, 20 North Upper Wacker Drive in downtown Chicago, from June 4 to 14, 2026.

“Our longstanding creative partnership with Yuri Possokhov has reached a new height with Eugene Onegin, supported by an extraordinarily hands-on collaboration with San Francisco Ballet that elevated every element of the production. The precision of detail and emotional storytelling come together to create a fully immersive experience - one that speaks with striking clarity to the world we live in today, and reflects the very best of The Joffrey’s artistic ambition,” says The Mary B. Galvin Artistic Director Ashley Wheater MBE.

“As we close our 70^th anniversary season, Eugene Onegin is both a celebration and a statement of what shared ambition can achieve. At every level, our ability to move audiences depends on the strength of the relationships behind the work, and we are particularly grateful to our partners at San Francisco Ballet for taking the leap with us. Mounting a production of this scale signals the new heights The Joffrey continues to reach, and the stability of the organization as we lay the foundation for our next 70 years,” said Greg Cameron, President and CEO.

Set against the backdrop of 19^th-century Russian aristocracy, the cautionary tale centers on Eugene Onegin, an enigmatic and aloof aristocrat whose life is forever altered after his fateful encounter with the earnest Tatiana. The events that follow – a tragic duel, a devastating loss, and a chance reunion force Eugene Onegin to confront the weight of his choices. Considered a classic work of literature, Eugene Onegin and its protagonist have served as models for literary heroes across time with a worldly and personal narrative style.

A frequent guest choreographer of The Joffrey Ballet, Possokhov returns to the Lyric Opera stage following 2019’s incredibly favored full-length commission of Anna Karenina, a co-production of the Joffrey and the Australian Ballet. Eugene Onegin reunites the award-winning team behind Anna Karenina, including Possokhov and Demutsky; plus, librettist Valeriy Pecheykin, set designer Tom Pye, costume designer Tim Yip (an Oscar-winner in Art Direction for “Crouching Tiger, Hidden Dragon”), lighting designer Jim French, and projection designer Finn Ross.

Eugene Onegin marks the first full-length co-production between The Joffrey Ballet and San Francisco Ballet and received its World Premiere in San Francisco in January 2026.

The Joffrey Ballet is grateful to Eugene Onegin Presenting Sponsors Lorna Ferguson and Terry Clark, Anne L. Kaplan, Lynda Sue Lane, M.D., Rudolf Nureyev Fund at The Joffrey Ballet, and Mr. and Mrs. Joel V. Williamson; Major Sponsors Mary Jo and Doug Basler, Dancing Skies Foundation, Ethel Gofen, Audrey L. Weaver, and Alexandra C. Nichols; Production Sponsors Holly Palmer Foundation, Gary Metzner and Scott Johnson, and Bill and Orli Staley Foundation; Costume Sponsor Jane Ellen Murray Foundation; and Commissioned Score Sponsors The Marina and Arnold Tatar Fund for Live Music and Marion A. Cameron-Gray and J. Douglas Gray.

Eugene Onegin features live music performed by the Lyric Opera Orchestra, conducted by Scott Speck, Music Director of The Joffrey Ballet.

Tickets and Schedule

The Joffrey Ballet presents Eugene Onegin from Thursday, June 4 to Sunday, June 14, 2026.

The full performance schedule is as follows:

Thursday, June 4 at 7:30PM;
Friday, June 5 at 7:30PM;
Saturday, June 6 at 2:00PM and 7:30PM;
Sunday, June 7 at 2:00PM;
Thursday, June 11 at 7:30PM;
Friday, June 12 at 7:30PM;
Saturday, June 13 at 2:00PM and 7:30PM;
and Sunday, June 14 at 2:00PM.

The Joffrey Ballet is the only official seller with the best prices. Be aware of ticket re-sellers offering overpriced or invalid tickets. 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 70 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works. Founded in 1956 by pioneers Robert Joffrey and Gerald Arpino, the Joffrey remains dedicated to artistic expression, innovation, and first-rate education and engagement programming. The Joffrey Ballet continues to thrive under The Mary B. Galvin Artistic Director Ashley Wheater MBE and President and CEO Greg Cameron.

The Joffrey Ballet is grateful for the support of its 2025–2026 70^th Anniversary Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, Gallagher, The Florian Fund, Anne L. Kaplan, and Robert and Penelope Steiner Family Foundation. Live Music Sponsors Sandy and Roger Deromedi, Sage Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges our Season Partners: ATHLETICO and Chicago Athletic Clubs.

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

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

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

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

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

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

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

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

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

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

ABOUT THE JOFFREY BALLET
The Joffrey Ballet is one of the premier dance companies in the world today, with a reputation for boundary-breaking performances for 70 years. The Joffrey repertoire is an extensive collection of all-time classics, modern masterpieces, and original works.

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

The Joffrey Ballet is grateful for the support of its 2025–2026 70^th Anniversary Season Sponsors: The Abbott Fund, Alphawood Foundation Chicago, Daniel and Pamella DeVos Foundation, Gallagher, The Florian Fund, Anne L. Kaplan, and Robert and Penelope Steiner Family Foundation. Live Music Sponsors Sandy and Roger Deromedi, Sage Foundation, and The Marina and Arnold Tatar Fund for Live Music. The Joffrey also acknowledges our Season Partners: ATHLETICO and Chicago Athletic Clubs.

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

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

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

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

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

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

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.

I’ll cut right to the chase and say THE CAPULETS by Chicago Repertory Ballet may be the finest dance show I’ve seen since I saw the Joffrey dance Christopher Wheeldon’s iconic adaptation of Nutcracker.

I had the delight of speaking both before & after the show with Wade Schaaf, founder and Artistic Director of Chicago Repertory Ballet and choreographer of THE CAPULETS [and looking, just BTW, perfectly splendid in an Elizabethan-themed doublet!]. schaaf wears many hats – a true Renaissance man! I wish I could have seen them dance, and I’m thankful they founded this company when they retired and sustained it ever since (that goes on my Thanksgiving list!). They told me this ballet has been dwelling in their head for years; they were thrilled that it was coming to life tonight in its world premiere.

The dancers’ visual illustration of the tale integrated superbly with the auditory portrayal of Matty Mattsson's captivating musical score. Together they portrayed the story begun by Shakespeare so long ago and now extended by Wade Schaaf. Is THE CAPULETS then the backstory to ROMEO & JULIET? I think not – nothing so simple nor so disconnected. THE CAPULETS is a completely new tale, only borrowing characters from the Bard’s iconic play. [I might even characterize it as fanfiction, though some would see this as trivializing a rich and vibrant independent work.]

Zach Minnich and John Pobojewski fashioned ingenious digital sets that drew us in without sacrificing an inch of the dancers’ floor space and were further enhanced by David Goodman-Edberg’s creative lighting. Liviu Pasare’s videography was also masterly, though some of the projected text was difficult to read quickly, distracting my attention from the dance, which was telling the story quite efficaciously on its own.

 Nathan R. Rohrer brilliantly fashioned costumes that were nearly monochromatic – chiefly black but using splashes of red (e.g. a cloak’s lining) to highlight the major characters. On the whole, the Artistic Team created a vessel for the passionate patterns and movements of the dance and the music’s unrestrained exuberance.

We all know the Capulet family from Shakespeare’s celebrated original story, and THE CAPULETS begins similarly, with a playful duel between Mercutio (Nathaniel Urie) and Benvolio (Molly Gemechak), escalating into a brawl until Prince Escalus (Phillip Ollenberg) breaks it up. Add one more laurel to Wade Schaaf’s creative repertoire: the stage fighting was eloquent and authentic (reminiscent of my beloved Babes with Blades), while even the fiercest combat retained the contours of ballet.

In THE CAPULETS Schaaf realigns the love and partnering depicted by Shakespeare. We see Romeo (P.J. Spagnoletti) and Juliet (Tessa Castellano) fall in love at the Capulet’s ball, but they are peripheral characters. Rather, Schaaf presents a poignant tryst between Lord Capulet (Rosario Guillen) and Paris (Skyler Newcom), thereby fulfilling my long yearning for a male-male pas de deux, where both dancers may perform lifts and throws – Bravo! Bravamissio Renaissance queers!

The lead couple of THE CAPULETS is Lady Capulet and Tybalt. Miriam-Rose LeDuc danced Lady Capulet with passion and pathos, and her pas de trois with Lord Capulet and Paris was sensational. Schaaf’s choreography was very generous, showcasing all participating dancers while including wonderful solos for each.

I always have a favorite character and, as I so often do, I’ve left the best for last: Jackson Ferreira. This Brazilian native began dancing relatively late – not until age 16 – but has more than made up for any lost time. In solos and pas de deux he was magnificent, yet with the company he did not attenuate the other dancers, as may occur with exceptional dancers [though I must admit that I personally couldn’t tear my eyes from him!]. But please don’t suppose my admiration for this one artist undermines my veneration for the other dancers and the company as a whole.

Nothing is perfect, not even THE CAPULETS. I would plead for some alteration of the text projected Stage Left in Act II – I had difficulty reading it, thus stealing my attention from the dancers for several crucial seconds… and the dancers were already telling the story. Or maybe the text could be projected above the stage…. And my companion and I both found the final scene discordant. Why burden a terrific story with a happy ending?

Through November 16th at Ruth Page Center for the Arts. For more information or tickets, visit https://www.chicagorepertoryballet.com/thecapulets. 

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

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

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

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

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

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

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

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

An electrifying evening of artistic fusion unfolded at the Auditorium Theatre as Hiplet Ballerinas, the professional company of the Chicago Multi-Cultural Dance Center, dazzled audiences once again with their breathtaking production, Dipped in Versatility. Created by Homer Hans Bryant, Hiplet redefines the boundaries of dance, blending the elegance of classical ballet with the raw energy of hip-hop, the rhythmic pulse of African dance, and the vibrant passion of Latin movement. Bryant, alongside Executive Director Robin Edwards, presented a stunning and deeply moving vision of the company's future. Their latest work offers a glimpse into the artistry and innovation that will continue to define Hiplet Ballerinas, showcasing the brilliance and boundless potential of this extraordinary ensemble.

“We are diversity at its best,” Bryant is quoted as saying in the show's program. “Trained in tradition, and dipped in versatility. Eurocentric is our approach - Afrocentric in our delivery.”

Without a doubt, Bryant’s vision came to life in this remarkable production, delivering a performance that fully embodies his artistic statement.

The production showcased a mesmerizing collection of pieces, highlighted by the highly anticipated world premiere of Garden—a spectacular work exquisitely choreographed by Taylor Edwards and Tre Daniels. With hypnotic projections, dazzling costumes, and an electrifying blend of hip-hop rhythms, the dancers carried the audience through a visionary experience where tradition seamlessly intertwines with innovation from start to finish.

Absolutely magnificent! Hiplet Ballerinas continue to push artistic boundaries, offering a one-of-a-kind, non-traditional dance experience that leaves audiences in awe. The gifted dancers rise to the occasion, effortlessly adapting to any musical backdrop—whether the vibrant sounds of the Spanish Harlem Orchestra, dynamic mixes by Brian Ford, or the electrifying live performances of Marcus Kincy, Lawrence Jones, and Patrick Stanton.

Hiplet Ballerinas at Auditorium Theatre. Photo by Andy Argyrakis.

From the moment the lights fade and the music reverberates, you'll witness dancers of all body shapes and sizes who are absolute forces. Their technique is impeccable, their energy contagious, and their command of the stage undeniable. They flow with ethereal grace before seamlessly transitioning into movements that will astound you. Kendall Brown and Gabrielle Dantzler deliver truly sensational performances, leading standout pieces alongside a remarkable ensemble of talent, including Allison Harsh, Brandon Paraharm, Taylor Edwards, Terri “Berri” Woodall, Dajiah Alexander, Benjamin Marshall, Miranda McGovern, Jaelynn Selph and Captain Nia Towe. The company is also joined by guest performers Sierra Tapia and Alexandria Franklin. Together, they elevate the production to dazzling heights, creating an unforgettable experience from its opening sequence Power to its climactic finale, Outdated Education. 

This isn't your traditional ballet. Hiplet shatters conventions with its bold, innovative, and joyfully inclusive spirit. The diverse artistry of the performers underscores that true talent knows no limits. The imagination and ingenuity of the choreography team that brings Homer Bryant’s vision alive is on full display and it is fantastic. 

The music will pulse through you, the vibrant energy will keep you riveted, and the sheer artistry will leave you breathless. Hiplet is an immersive experience – a dynamic, exhilarating, and unforgettable journey that will leave you feeling inspired and uplifted. If you have the opportunity to see Hiplet, seize it! It's truly a groundbreaking performance. 

For more information on this outstanding dance company, be sure to visit their site at https://www.hipletballerinas.com/. You can also give them a follow on Instagram @hipletballerinas. 

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