The production not only ideally captures the mix of the comical, satirical, fantastical and romantic aspects of Miguel de Cervantes’ story, but with its beautiful sets, costumes, projections, puppets and aerial tricks it also is an ideal showcase for the Joffrey.

For its spring season at the Lyric Opera House, the Joffrey Ballet has devised a program composed of two dramatically and stylistically different works.

The Joffrey Ballet’s latest production is John Steinbeck’s ‘Of Mice and Men.” It’s a story that ends in tragedy — but the artists hope to highlight something else in their rendition.

A primary example of the Joffrey’s commitment to “the new” was this weekend’s return of the “Winning Works” program, now in its 12th season, with four performances that served as a showcase of four world premiere pieces created by four different choreographers. 

Pure winter magic. The Joffrey Ballet’s altogether unique production of “The Nutcracker,” has never looked more glorious or been danced more ideally.

With its ideally titled program, “Home: A Celebration,” the Joffrey Ballet finally made its pandemic-delayed debut as the resident dance company at the Lyric Opera House on Wednesday. And it did so by way of a beautifully constructed and exquisitely danced program.

The Joffrey Ballet is welcoming back company dancers and instructors. It’s also welcoming choreographers, including Chanel DaSilva. As one of Joffrey’s 2020 Winning Works choreographers, the New York based artist is back with a dance interpretation and reimagining of the old Negro Spiritual, “Swing Low, Sweet Chariot.”

Should you need any additional proof of the adage that “absence makes the heart grow fonder,” the recent one-night-only performance by the Joffrey Ballet at the Ravinia Festival provided all the evidence required.

After 15 months of dark theaters and livestreamed performances, two of Chicago’s most famous performing arts companies announce they are returning to the stage for live performances — this time under one roof.

This world premiere, feverishly choreographed by Nicolas Blanc and performed by 15 of the company’s emotionally fiery dancers, is a work of such beauty and dynamic intensity that it can and should easily endure as part of the standard ballet rep for years to come.

Two thrillingly dramatic works — one by way of dance and another by way of radio theater — now serve as vivid evocations marking the one-year “anniversary” of the pandemic, and all the physical and psychological dislocations it has engendered. 

This fall was to mark the Joffrey’s first season in its new home on the Lyric Opera stage after many years of residence at the Auditorium Theatre.

How the Chicago performing arts community is preparing for the uncertainty of the spring season.

A coming change of venue for the Joffrey Ballet is a major shift, and its initial opening season will be of great importance, especially since it also will mark the 25th anniversary of the Joffrey as a formidable Chicago cultural institution. 

Throughout its history, the Joffrey Ballet’s dancers have been renowned for their ability to create characters as well as to put their superb technical skills to work. They also are capable of carrying over their acting ability to contemporary “plotless” works.

This highly original reimagining of the classic holiday tale is a monumental production both in its storytelling and its design, yet it manages to beautifully interweave its grand scale elements with human scale emotions.