Review: The Joffrey Ballet’s “Golden Hour” at Lyric Opera

The Joffrey Ballet presents “Golden Hour,” an exciting program of works by Dani Rowe, Yuri Possokhov, Nicolas Blanc and Cathy Marston, running through March 2 at Lyric Opera. The program features three returning favorites and the debut of a fascistic pea-powered dictator… Wait, what was that last one again?

"Princess and the Pea," with Anabelle de la Nuez and Jonathan Dole (Feb. 20); Photo by Cheryl Mann

The most striking work in the program is the world premiere of Rowe’s “Princess and the Pea,” a continuation to the popular children’s fairy tale. Sure, you’ve heard the story of the woman who could feel a pea beneath a mattress, but have you heard how she used her superhuman sensitivity to peas to rig a perennial mattress-lying competition to retain despotic control of a totalitarian nation-state? I think not! We are introduced to Pea (Nae Kojima), a young woman whose Dad (Aaron Renteria) and Papa (Fernando Duarte) are “banned and canned” (i.e., sealed in giant tin cans) for violating the fascist laws made by the Princess (Lucia Connolly). The puny protagonist must beat the Princess at her own game of lying on a stack of mattresses that stretches up into the clouds to regain control of the land and free her parents. Music by James Stephenson is heroic and whimsical, a complement to scenes where the Princess’ Underlings (Zachary Manske and Davide Oldano) bound menacingly around the local farmers and chase after Pea and her magic Carrot (Maxwell Dawe) companion.

Rowe tempers the story’s absurd humor with a variety of theatrical themes and dance styles. Farmers engage in cheeky calisthenics with green, pea-shaped exercise balls. There is a tender pas de deux between Pea and Carrott like an alternate reality reimagining of Clara meeting the Nutcracker. During a reprieve, Carrott starts a 19th-century jazz-era party as the ensemble engages in cakewalks, bell kicks and tap dance-like foot percussion. Fantasy set pieces and anthropomorphic vegetable-based costumes by Emma Kingsbury change with the flow of the performance. “Princess and the Pea” is sure to delight young attendees, a fun diversion for adults and the perfect piece to usher in the approach of Spring.

"Heimat," with The Joffrey Ballet; Photo by Cheryl Mann

While “Princess” is the showstopper, the most touching work is Marston’s “Heimat” (2022), featuring an idyllic Swiss family and playing out their complete history in a matter of minutes. To the music of Richard Wagner, a Mother (Jeraldine Mendoza) and Father (Edson Barbosa) watch their two daughters (Valeria Chaykina and Lauren Quinn) and son (Zachary Manske) frolic and roughhouse in the countryside. The parents swoon in delight as their children leap more and more confidently as they age. The son flexes a toned bicep; Father holds up his arm but can’t muster the strength of his youth, and Mother touches his shoulder as if to say, “It’s okay, dear.” Poignent moments like thisof a family maturing dot the work. Marston defines the German word “heimat” as the feeling of home; in “Heimat,” home is where the heart is, and the heart is dancing with family.

"Under the Trees' Voices," with The Joffrey Ballet; Photo by Cheryl Mann
“Under the Trees' Voices” (2021) was conceived by Blanc amid the pandemic during the height of social distancing requirements. Under giant floating leaves, multiple battalions of dancers as sprites, wearing sheer tops lined with blue vines, rush into view. The action is grouped into standalone movements: Solos, like one performed early on by Scott Reed who defiantly fights against the complicated rhythm of the music; groups, like a trio where a jealous (or maybe cheated on) woman tries to come between a man and woman couple; or a group of men swinging their legs around like rifles during a duck hunt. “Symphony No. 2” by Italian composer Ezio Bosso, is dramatic and dappled with polyrhythms, and the dancers match the intensity of the music with grand entrances and quick footwork.

"Andante," with Xavier Núñez, Victoria Jaiani and Alberto Velazquez (Feb. 20); Photo by Cheryl Mann

“Andante” (2024) by Prossokhov is a short pas de trois featuring dancers Lucia Connolly, Stefan Gonçalvez and Wictor Hugo Pedroso. The men are strong and graceful, but eyes are naturally drawn to Connolly, who executes arabesques and pirouettes with captivating grace. The climax is when Pedroso and Gonçalvez lift Connolly, the later stiff like a board, high in the air, rotate her around and catch her on the flip side. Expert pacing and a thrilling conclusion show why “Andante” has earned a place among The Joffrey’s splendid repertoire. 

Favorites, old and new, about family, flora and a fascistic pea-based dictator… The diverse content in “Golden Hour” feels fresh throughout the program. “Princess and the Pea” is perfect for exposing those unfamiliar with ballet, both children and adults, to the art form—it’s just so much fun!

“Golden Hour” is presented by The Joffrey Ballet through March 2 at Lyric Opera of Chicago, 20 N Wacker.  Showtimes are Thur-Sat at 7:30pm; Sat-Sun at 2pm. Tickets start at $36 at Joffrey.org.