Opening night of Joffrey Ballet's 'The Little Mermaid': Artistry under the sea

Stormy skies and traffic jams didn’t keep The Joffrey Ballet’s supporters away from opening night of “The Little Mermaid.” In fact, it was a full house, filled with anticipation before the 2.5 hour performance of this hauntingly beautiful ballet that combined breathtaking dance with the heart-breaking story by Hans Christian Anderson. John Neumeier, longtime director and choreographer of the Hamburg Ballet, brought this story to life through exuberant contemporary choreography, stark but effective scenery and unique costuming.

And, although “The Little Mermaid” is probably better known from Disney’s 1989 animated version, do not expect any similarities. Neumeier’s production is more in keeping with the original dark fairytale from 1837. The ballet is the story of a mermaid who longs for love and desires to be human but, just as in life, we don't always get what we want.

The Mermaid's story is one of pain and loss superbly performed by Victoria Jaiani, dancing the role of a lifetime. Her moves, mostly done while trailing voluminous material behind her as fins, was riveting to watch. She is as much a great actor as she is a superb dancer. This difficult performance calls on skills we’ve not seen before and that seem appropriately, almost inhuman. She completely inhabits the role of the Little Mermaid and loses herself in the character before our very eyes. She’s onstage for nearly the entire ballet, demonstrating yet again, her extraordinary endurance and other-worldly capabilities.

The musical score, composed by Lera Auerbach and performed live by the Lyric Opera Orchestra, brought the production and the audience to another level, perfectly matching the intensity of what we see onstage. The addition of the theremin, an electronic instrument invented in 1928, depicts the Mermaid’s voice and her ethereal, mystical side. People may recognize the eerie sound of this instrument from sci-fi films of the 1950s. It is controlled without physical contact- the musician (thereminist) waves their hands near two antennas to create sounds associated with ominous situations, of which there were many throughout the performance.

The entire cast was outstanding. Yoshihisa Arai, retiring at the end of the 2022-23 season, played the menacing Sea Witch and Dylan Guiterrez expertly performed the role of the Prince, also requiring as much acting skills as dance and succeeding wildly at both.

A heart-warming tender moment occurred when the dancers were taking their many curtain calls. Jaiani’s 9-year-old son and husband, former Joffrey dancer Temur Suluashvili, both presented their shining star with flowers.

The production is entrancing, unsettling and danced with skills beyond imagining.

(Now through April 30, at the Lyric Opera House, 20 N. Wacker, tickets $36- $200, Joffrey.org)

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