Why The Joffrey Ballet’s ‘tweaked’ ‘Nutcracker’ is a must-see

Opening night of The Joffrey Ballet’s “The Nutcracker” always feels like the start of something magical and this year’s event seemed even more exciting. I saw mothers and daughters dressed in identical festive outfits; there were evening gowns and men in suits and ties. The air of expectation was palpable even though Christopher Wheeldon’s production has been around since 2016.

We were excited to attend because, like many other fans, it’s become a tradition for us. We loved Robert Joffrey’s version and had steeled ourselves to not like the new one. But, as soon as we saw Wheeldon’s version, set in Chicago the winter before the Chicago World’s Fair, we were completely captivated.

On opening night, we expected to see the same dazzling performance we had seen and loved so many times before – snow, nutcrackers, ballet- but just when you thought it couldn’t get any better, it does, and in spades.

It’s clear one of the strengths of The Joffrey Ballet is its refusal to stand still. Year after year the company tweaks and improves, from richer costumes to more elaborate lighting, from flat scenic cutouts to deep, three-dimensional sets. In this version, the once-cardboard golden “Statue of the Republic” has become a dramatic, multi-dimensional centerpiece, a fitting tribute to the original 65-foot statue erected for the 1893 Exposition. Even the lighting is reinvented, with projections that blur the line between stage and theatre, drawing the audience into Marie and Franz’s dreamlike journey.

Read more on Chicago Star:

• Cirque du Soleil's 'Twas the Night Before... returns for limited engagement
• The JoffreyNext Luncheon highlights the transformative power of dance
• Legacy lit: How Macy’s holiday decor honors Marshall Field's
• Playboy is back in print AND film and not playing it safe

The performances themselves were flawless. The dancers embodied their roles with emotional depth and technical brilliance. On opening night, “The Great Impresario” (portrayed by Stefan Gonçalvez) and the mother-sculptress (played by Gayeon Jung) moved with tenderness and flair. And the ending left a lasting impression, beautifully underlining themes of gratitude, family and the true spirit of Christmas.

The exotic dance scene, featuring “Arabian dancers” Jeraldine Mendoza and Dylan Gutierrez was sultry and captivating. You could’ve heard a pin drop in the theater. “Buffalo Bill,” performed by Valentino Moneglia Zamora, even executed a perfect lasso trick that had the audience wildly applauding (as it did throughout the production).

The children’s cast was equally immaculate, not a single misstep. The charming “Walnuts” (this year played by Mabel Baker, Norah Cuevas, Mairah Lopez, Mckenzie Martin, Lulu Verma and Kaylie Yong) won the hearts of the entire audience.

From the moment you walked through the doors of the Lyric Opera House, you were transported into a magical world, one that you never wanted to leave.

Congratulations and thanks to The Joffrey Ballet for always finding new ways to surprise and delight us.  

(The Joffrey Ballet’s “The Nutcracker,” runs through Dec. 28 at the Lyric Opera House. Click here for tickets/more info.)