On the afternoon of June 22, sunlight filtered through the grand lobby of the Lyric Opera House as the sold-out crowd found their seats for the final bow of The Joffrey Ballet’s Alice’s Adventures in Wonderland. The performance was dedicated to longtime champion of the arts and the Joffrey, Ken Norgan, who sadly passed away on June 9. In a Voice of God announcement, attendees heard: The Joffrey Ballet dedicates this afternoon’s performance to the memory of Ken Norgan, a true friend of the Joffrey and artists around the globe. His generosity and love for dance lifted us all. Today, we dance with gratitude for his spirit…and in celebration of a life beautifully lived.” It was a touching moment for a very special man.

Norgan was a philanthropist who devoted his time to travel, art and culture and his friends. He was a trustee of the Swedish American Museum; served on the board of Swedish Covenant Hospital; a trustee of the Bernadotte Foundation for Children's Eyecare; a board member and patron of the Lyric Opera of Chicago and his beloved Harris Theater for Music and Dance and many more. His partner of 28 years, Jose "Pepe" Conforme, who was in the audience, said, "He would've loved it!" 

On this night, the packed crowd knew they were in for something very special from the moment the overture began. Joby Talbot’s whimsical score swept through the hall with tinkling bells and dramatic rhythms that breathed life into Lewis Carroll’s world. As the lights dimmed, the stage transformed from the muted tones of a quaint Victorian garden into an explosion of color and movement. Bob Crowley’s imaginative set design brought towering playing-cards, flowers, shrubbery, buildings and more to life with puppetry and dramatic projections. Alice, played by Amanda Assucena, portrayed her with youthful curiosity—dancing through each scene with grace and wonder.

Every corner of Wonderland emerged in vivid detail: a manic tea party hosted by a tap‑dancing Mad Hatter (Edson Barbosa), a spine‑tingling encounter in the Duchess’s cottage and whimsical interludes with the Cheshire Cat’s floating grin. It’s no wonder all the kids in the audience were so well behaved- they were enchanted by the ever-changing visuals that must’ve felt like a trip to Disneyland for them!  

But it was Act III, the climax, that truly stole hearts. The Queen of Hearts, brilliantly portrayed by Victoria Jaiani, dominated the stage in a croquet‑court trial that blended satire, slapstick and spectacle. Flamingo‑shaped mallets swung, hedgehogs tumbled and Jaiani’s comedic timing lit up the theater. Moments of genuine tenderness arrived too, especially in a quiet, lyrical pas de deux between Alice and Alberto Velázquez’s Knave.

Conducted by Scott Speck, the 56‑piece Lyric Opera Orchestra wove Talbot’s score into an emotional tapestry, sometimes playful, sometimes eerie, in perfect dialogue with the dancers and Christopher Wheeldon’s choreography.

When the curtain finally descended, the stage glowed with a joyful ensemble tableau with Alice at its center, surrounded by the riotous community she’s encountered. The audience, rising in unison, cheered (8 curtain calls!) and applauded long after the final bows. (If you missed it this time around, don't miss it when it returns!)  

Ken would have been smiling like a Cheshire Cat.

(Joffrey.org)

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