The Joffrey Ballet has debuted ‘Liliom,’ featuring the talents of prima ballerina Victoria Jaiani and José Pablo Castro Cuevas. Julie, danced by Jaiani on Thursday, embodies innocence and goodness, which leads her into complex situations. Her affection for Liliom, a carnival barker played by Castro Cuevas, raises the question: Are misdeeds a matter of character or circumstance? Both factors play a role, leaving Julie with difficult decisions regarding her future.
Choreographed by John Neumeier, this ballet highlights Liliom’s journey rather than Julie’s. Neumeier created ‘Liliom’ fifteen years ago for the Hamburg Ballet in Germany, having served there as artistic director for over 50 years. Born in Milwaukee, Neumeier has a deep connection to Chicago where he began his professional journey on the Lyric Opera stage in 1961. His return to the Lyric came in 2017 with ‘Orphée et Eurydice,’ following the Joffrey’s move from the Auditorium Theatre.
Neumeier’s style, seen previously in productions like ‘Sylvia,’ blends classical ballet with modern dance and physical theater, infusing the performance with unique elements. Music serves as a flexible guide, sometimes syncing perfectly, sometimes diverging. In ‘Liliom,’ Evan Boersma plays The Balloon Man, a mime who leads Liliom through various realms. The ballet opens with Boersma carrying vibrant balloons across a muted stage, eventually giving way to the depiction of a faded carnival named Playland.
The music by Michel Legrand, conducted by Nicholas Koo with the Lyric Opera Orchestra, enriches the performance. Initially sparse, the score gradually incorporates strings, woodblock, English horn, and trumpet.
Reed Henry impresses as Julie’s son, Louis, alongside Liliom and Julie. This sequence offers a glimpse into the story’s culmination before reverting to the past, when Playland thrived. A big band and evocative stage design deepen the contrast between the well-off carnival-goers and the working-class characters.
Liliom charms patrons with his persuasion skills, primarily attracting women. Castro Cuevas excels in portraying a character who is both a suave, shirtless seducer and a tormented individual prone to violence and theft. His relationship with Julie presents a complex dynamic, culminating in tragic decisions, paralleling the tale of ‘Carousel’ by Rodgers and Hammerstein.
A dramatic moment arises when the Joffrey’s ensemble of 24 men expresses the struggle for employment during the Depression era through a compelling dance. Against signs declaring a desire for work, Liliom’s choices reveal missed opportunities to prevent Julie’s anguish.
The story paints Liliom as flawed yet deeply connected to Julie, who represents unwavering kindness despite immense disappointment. By the ballet’s end, Julie’s ability to love her son mirrors her capacity to see the good in others.
Lauren Warnecke reviews ‘Liliom,’ awarding it 3.5 stars. Performances continue at the Lyric Opera House.