Former Bolshoi principal dancer Mikhail Lavrovsky places new choreography on Prokofiev’s famous score in this staging by the State Ballet Theatre of Russia. The Voronezh-based (south of Moscow, some 300 miles from the Ukraine border) company has been around since 1961, but is a somewhat new import to the States. Svetlana Noskova, who dances the part of Juliet in one of two performances at the Auditorium Theatre, has earned acclaim for her technical prowess as well as her expressive interpretation, evidenced by her pristine and colorful performance in the State Ballet’s production of Swan Lake last year. This is a chance for Chicago to get better acquainted with this large-scale (the head count is sixty-five) classically focused troupe. (Sharon Hoyer)
At the Auditorium Theatre, 50 East Congress, (800)982-2787. January 28 at 8pm and January 29 at 2pm. $30-$87.
Fugue State: A Review of Life After at the Goodman Theatre The brilliance of this musical about the family and circle of a self-help guru manifests from so many directions that the show sweeps one magically, whimsically, sometimes tragically, in a wonder-ride that seems to fit all of life on stage.
Complementary Opposites: A Preview of "Serenade" and "Of Mice and Men" by the Joffrey Ballet “Both [ballets] are trying to deal with a particular time: One by healing with the beauty of dance, the other by trying to create empathy for beaten-down humanity. Right now, we’re facing some of the same issues, such as huge migrations from the workplace. Steinbeck shone a light on his time, and I hope we’re able to do the same.”
Former Bolshoi principal dancer Mikhail Lavrovsky places new choreography on Prokofiev’s famous score in this staging by the State Ballet Theatre of Russia. The Voronezh-based (south of Moscow, some 300 miles from the Ukraine border) company has been around since 1961, but is a somewhat new import to the States. Svetlana Noskova, who dances the part of Juliet in one of two performances at the Auditorium Theatre, has earned acclaim for her technical prowess as well as her expressive interpretation, evidenced by her pristine and colorful performance in the State Ballet’s production of Swan Lake last year. This is a chance for Chicago to get better acquainted with this large-scale (the head count is sixty-five) classically focused troupe. (Sharon Hoyer)
