The Joffrey Ballet Returns to The Lyric with Renowned ‘Nutcracker’

The Joffrey Ballet brightened another winter season with their tasteful twist on a holiday favorite. 

As eager Chicagoans adorned themselves in festive furs and sequins, the Lyric Opera of Chicago presented director and choreographer Christopher Wheeldon’s interpretation of “The Nutcracker” for the ninth year in a row Dec. 6-28. 

Doing away with the original tale of a pampered little girl named Clara who received a wooden nutcracker from her eccentric uncle, Wheeldon imagined a story this city could see itself in. Written by Brian Selznick, they worked to call attention to Chicago history and pay homage to the multicultural impact during the 1893 World’s Fair. 

Julian Crouch’s rugged set and costume design brings the city’s history to life. The characters and setting are boldly innovative compared to the original story, and a special touch was the parallel between the two versions of dances from different countries in the second act.

Adhering to the traditional Christmas season, the Joffrey’s rendition is set months before the Fair opened in May, as the exposition was still under construction. Marie, played by Nae Kojima, declares her curiosity by trying to get a look at the inventions awaiting display. 

Kojima portrays a weightless elegance as she leaped across the stage with Franz, her on-stage younger brother played by Elliot Angsurat. The two playfully whirled around in the opening scene ensemble with local town boys, as three-dimensional projections of newspaper clippings informed the audience of the wondrous World’s Fair.

First introduced by a projection of his silhouette, Stefan Gonçalvez was met with applause as he took the stage as The Great Impresario — the man who designed the World’s Fair. 

Dancers of all ages filled the stage, carrying Christmas gifts and musical instruments. The young dancers brought joyful energy as they scurried across the stage to the upbeat tempo of Pyotr Ilyich Tchaikovsky’s “March.” The original score heightened the grand entrances of characters like The Great Impresario. 

His apprentice, Peter, played by Maxwell Dawe, performed an impressive duet with Marie amongst the busy party scene. Consisting of grand lifts and skip steps, the dance radiated romance between the two characters. 

“The Nutcracker” lent an air of tangible magic as the costumes and visual effects elevated the dancers’ performances. Crouch’s attention to detail with each character made all the difference, as all had distinguishing features, such as The Great Impresario’s red cape.

Shortly after falling asleep next to Franz, Marie awoke to rats kidnapping him from their home. Bold practical effects followed, immersing the audience in an otherworldly atmosphere. The backdrop of Marie’s decorated Christmas tree magnified and a popcorn garland lowered from the ceiling, creating the illusion of entering the show’s storybook world. 

José Pablo Castro Cuevas as the eponymous Nutcracker battled the Rat King in a toy soldier uniform and paper mache head. Despite the comedic clunkiness of his costume, Cuevas danced with ease in tandem with Marie. Hidden beneath a shaggy costume, the Rat King, portrayed by Derek Drilon, was defeated.

After the Rat King’s demise, The Nutcracker removed his costume head to reveal a charming prince. The stage then swiftly transformed into a blue snowy wonderland, with snowflakes dancing around the Prince, Marie and The Great Impresario as Act I closed. 

Act II began with greater emphasis on theatrics than plot, as a plethora of spotlight dancers took to the stage. 

Moving from pavilion to pavilion in the Dream Fair, Marie, the Prince and The Great Impresario were greeted with performances from different countries. From Spanish dancers to Buffalo Bill’s Wild West Show, it was an extravaganza of cultural demonstrations.

Crowd engagement heightened with the Wild West Show, as dancer Hyuma Kiyosawa breathed vitality into his role as a cowboy. Set to the iconic score of “Trepak” by Tchaikovsky, the audience clapped along with him and dancers Lindy Mesmer, Lauren Quinn, Ao Wang.

The costume design in Act II reached a new level, as the dancers appeared in ethereal shimmering tutus and dusty blue costumes to blend with the winter setting. Performers were embellished with blue and white glitter patterns and dramatic suits and were accompanied by intricate props, like a life-sized Chinese dragon reflecting the authentic cultural customs.

Gracefully finishing the show, The Great Impresario and The Queen of the Dream Fair, played by Gayeon Jung, performed a duet together for one last scene in front of a golden ferris wheel. Crouch once again connects the set design to the overarching setting of the World’s Fair, and its celebrated and revolutionary inventions. 

Alongside them danced Marie and the Prince, mirroring one another as bright white and blue lights illuminated the stage, culminating in a climatic transition where Marie’s silhouette awoke in bed on Christmas morning. 

The cast met the crowd’s standing ovation with bows and waves, concluding another successful show. 

Tickets for future shows at the Lyric Opera of Chicago are available online at joffrey.org.