MUSIC + MOVEMENT FESTIVAL Announced!

The Auditorium Theatre’s MUSIC + MOVEMENT FESTIVAL welcomes the best of Chicago musicians and dance companies for a celebration spanning February through June of 2013. In a series of collaborations, 11 dance companies will pair off with musicians to create brand new works. 

The MUSIC + MOVEMENT FESTIVAL will feature: 

Feb - April: 10 new collaborations in the Auditorium's Katten/Landau Studio - 425 S. Wabash, 4th Floor | Chicago 
April 13: HAVANA BLUE, a World Premiere collaboration between River North Dance Chicago and Orbert Davis’ Chicago Jazz Philharmonic’s Chamber Ensemble 
May 15: MUSIC + MOVEMENT SHOWCASE featuring Giordano Dance Chicago and Luna Negra Dance Theater, plus the top 5 studio collaborations 

The MUSIC + MOVEMENT FESTIVAL will continue with community performances through June in select locations around Chicago.


Chicago Tribune
Music + Movement Festival to bow at city's stages 
February 05, 2013|Howard Reich

A new festival celebrating music and dance will launch Feb. 28 under the auspices of the Auditorium Theatre of Roosevelt University and run into June in venues downtown and across the city. 

The Music + Movement Festival will present 11 Chicago dance companies performing newly commissioned work with live music, some of it created for the occasion.

Two key events – by River North Dance Chicago with Orbert Davis' Chicago Jazz Philharmonic (April 13) and a Music + Movement Showcase with Giordano Dance Chicago and Luna Negra Dance Theater (May 15) – will unfold on the stage of the Auditorium Theatre, 50 E. Congress Pkwy. The other performances will take place at the Auditorium’s Katten/Landau Studio (425 S. Wabash Ave., 4th floor) and in Chicago community centers to be named.

“This really came about because of a desire on the Auditorium’s part to work with a lot of great artists in Chicago that we normally wouldn’t be able to work with because of the costs,” said Auditorium Theatre executive director Brett Batterson.

“We thought: There are all these terrific musicians, all these terrific dance companies – could we raise enough money to put them together and see what happens?”

The Auditorium found support from the Chicago Community Trust, the Boeing Company and the Joyce Foundation for a festival budgeted at approximately $150,000, said Batterson. The River North/Chicago Jazz Philharmonic event, already announced as part of the Auditorium’s 2012-2013 season, is sponsored by BMO Harris Bank.

Read the entire article HERE

Chicago Sun Times
Auditorium Commissions 11 world premieres for festival

By Hedy Weiss and Thomas Conner Staff Reporters February 5, 2013

The Auditorium Theatre has announced a major new initiative, “The Music + Dance Festival,” a project designed to pair 11 of Chicago’s finest dance troupes with some of Chicago’s best live music makers. The festival, which will unspool over a five-month period (beginning this month and running through June), is being underwritten with $145,000 in grants from the Chicago Community Trust, The Boeing Company and The Joyce Foundation.

The festival will begin with 10 performances taking place in the Auditorium’s Katten/Landau Studio, 425 S. Wabash (4th floor), and will continue on the Auditorium Theatre stage, 50 E. Congress, with the highly anticipated April 13 collaboration between River North Dance Chicago and Orbert Davis’ Chicago Jazz Philharmonic in “Havana Blue,” and exploration of Afro-Cuban music and dance.

The Auditorium also will host a May 15 showcase featuring five selected performances from the festival as well as Giordano Dance Chicago and Luna Negra Dance Theater.

“This festival came out of a conversation [River North artistic director] Frank Chaves and I had when we were both part of the Miles Davis Festival at the Auditorium,” Orbert Davis, co-founder and conductor of the Chicago Jazz Philharmonic, said Tuesday. “We talked about what we could do, something bigger, that blended music and movement. Then he mentioned that his family was from Cuba.”

Davis and Chaves spent nine days in Cuba in September. Davis, a trumpeter, was transformed: “I became truly inspired. My goal was to become Cuban, which meant taking my horn to every restaurant. Guys in the street, I was playing with them. Guys in a band would see I had an instrument and say, ‘Come on over and play!’”

The result is the new “Havana Blue,” one segment of which features both musicians and dancers improvising.

Read the entire article HERE

Nutcracker at #theAud [By Rogue Ballerina]

By Rogue Ballerina

I’ve been coming to see performances at The Auditorium Theatre since 1999. I’ve seen everything from the American Ballet Theatre to singer Michael Buble, but my favorite outing is to see Joffrey Ballet’s “The Nutcracker”. It’s a tradition. The beauty of the ballet and seeing the little girls dressed up is part of the magic, but the grandness and detail of the theater is what really makes it special. It wouldn’t be the same anywhere else.

Kindness ushers you through the front doors into the bustling lobby with marbled mosaic floors, a children’s choir singing carols and holiday decorations adorning 123-year-old walls. Once inside the theater, I can’t wait to look up at the gorgeous details of the painted murals and gold leaf designs on the walls and ceiling. Right before the conductor comes out, I take a moment to read the quote painted at the top of the proscenium - “The utterance of life is a song, the symphony of nature.” – and I think of all the people before me who have come here to appreciate the arts and be entertained.

In “The Nutcracker” there is a specific moment at the end of the Snow Scene in Act I, when the music and dancing all stops for a brief moment. That lull was always filled with Joffrey co-founder Gerald Arpino yelling “Bravo!” at every show. He passed away in 2008, yet I can still hear his voice in my head at that moment every time I watch and it makes me smile. He is part of the theater and my memories created at The Auditorium.

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My real name is Vicki Crain.  I’m a freelance writer, mainly arts and culture, in Chicago and a former dancer and dance teacher.  I danced with a semi-professional regional ballet company in Central Illinois for over ten years (Cinderella, Sleeping Beauty, Coppelia, The Nutcracker…the usual), where I also taught at the affiliated dance school while finishing up college (B.A. in English).  After moving to Chicago, I danced for a season with Zephyr Dance and did freelance work, including six years dancing and touring with a Chicago-based production company. I’ve worked with a range of choreographers including Randy Duncan, James Kelly, Jan Erkert and Dame Libby Komaiko.  My age is irrelevant except for the times when I’m getting out of bed and need to use my dog Giselle’s steps for help.

The Nutcracker - A Joffrey Dancer's Perspective

By Rory Hohenstein, Joffrey Dancer

When the holidays approach, as a ballet dancer that means The Nutcracker. If not the first, then it is definitely among the first ballets you perform. And like our craft, it takes time to grow, through the years moving from party child, to toy soldiers, then professionally progressing in roles as well until you can look back and successfully know you've performed almost every part. Besides the amazing score played by the orchestra, what makes this experience even more fun is having the chance to perform in such an historic and beautiful theater like the Auditorium. 

As artists in the theater, we experience the complete opposite side of what the audience sees, such as the quiet empty lobby, with all its grand marble and tiles. Or the smell of the popcorn seeping through the dressing room halls as the ushers start preparing before the doors open. But mostly, as the audience sits in their seats staring at the life and art happening onstage, we the artists are living the story, looking out at the opposite side of the theater. 

The House of the Auditorium is beautiful and stunning from where we stand. Looking out into soft glowing arches that surround everyone, it is a privilege to perform here. As dancers, every year heading into Nutcracker season, we have grown accustomed to working through the holidays, but perhaps the best part of that is knowing that it has come as a tradition for most families and friends to celebrate the season with Nutcracker. And to be a part of others' yearly traditions feels quite special. So the next time you're in your seat, be sure to look up and all around and take in the beautiful sights of the theater. Know that that our view is quite beautiful as well. 

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Rory Hohenstein was born in Washington, D.C. At age six he began dancing jazz, tap and modern. At 12 he began training at the Kirov Academy of Ballet in D.C. In his senior year of high school, he joined Le Jeune Ballet de France in Paris, while completing his studies overseas. In July of 2000, Rory joined the San Francisco Ballet as a member of the corps and was promoted to a soloist in 2006. In 2008, he moved to New York City, joining choreographer Christopher Wheeldon’s new company, Morphoses. As a member of Morphoses, he performed in their home season and toured with the company to Sadler Wells London and the Sydney Festival in Australia. Rory spent 2010 as a freelance dancer working on several projects with different companies, most recently finishing a season with the Lar Lubovitch Dance Company. Rory has had the pleasure of working with many esteemed choreographers including Helgi Tomasson, Wayne McGregor, Mark Morris, Christopher Wheeldon, Lar Lubovitch, Alexi Ratmansky, Val Caniparoli, William Forsythe, Jorma Elo and Wade Robson, from T.V.'s "So You Think You Can Dance." This is Rory’s first season with The Joffrey Ballet.
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The Joffrey Ballet

The Nutcracker

Venue: Auditorium Theatre
Dates: Friday, December 7, 2012 - Thursday, December 27, 2012
Times: Times Vary - See Below Schedule
Price: $117-$31

Running Time: 2 hours and 5 minutes(including a 20 minute intermission)

Collaboration conceived and directed by:
Robert Joffrey
Music: Peter llyich Tchaikovsky 

Celebrate the 25th anniversary of America’s #1 Nutcracker! A grand production with Tchaikovsky’s glorious score played live by a full orchestra, this is sure to be an evening of pure enchantment.

“The perfect ballet” – Washington Post

Phone: 800.982.ARTS (2787) | Box Office: 50 E. Congress Pkwy.

Interview with Wayne McGregor

Check out this interview with Wayne McGregor, choreographer Infra. Combining emotionally moving dance with the calm indifference of the cyber world, the result is a revolutionary piece of 21st century dance. The poignant choreography of McGregor mixed with the urban design of world-renowned artist Opie and Richter’s mournful industrial score are unforgettable. For more information about this performance and tickets visit www.joffrey.org/winter.

Talking Nutcracker with Joffrey Dancer Derrick Agnoletti

Join us as we sit down with Derrick Agnoletti, a Joffrey dancer that has been with us for almost ten years, as we discuss the upcoming Nutcracker performances (Dec. 9-27). Visit www.joffrey.org/nut for more information and tickets.

Why is the Joffrey Nutcracker special to you?

Joffrey's Nutcracker is very special to me because I not only enjoy dancing it, but I enjoy all of its elements, from the characters that exist in this particular version to the quick speeds of the choreography. I think of all the Nutcrackers that I have participated in and seen, this one has the most dancing for both the men and women. It uses the whole company. Everyone's roles color the ballet to make a stunning picture. It is also very special to me because when I first came to the Joffrey as an apprentice, I got to see amazing artistry and dancing demonstrated through this ballet, it was so inspiring.

What’s your favorite role in The Nutcracker?

I have to say, I always love dancing Fritz/Snow Prince because I was a wild little kid, but the role that sticks out the most to me as really fun is playing one of the head butlers in the party scene. You are completely responsible for making the party scene work logistically as well as developing a character. I have fun, interchanging, personalities with this character. Some nights I’m very fussy and annoyed with all the guests and their demands and other nights the other butler and I pretend to encourage Fritz and his naughty behavior. I like the hustle of it, especially if I go into snow or battle after.

Do you have any funny stories/favorite memories of performing The Nutcracker?

Yes...During my very first week of shows I was put into the role of The Butler. The Butler is part of the magic when revealing the Nutcracker doll. I can't give away how it happens, but I can say that it’s a prop I am responsible for and I couldn't find it because it was not pre-set. I thought I was going to have a heart attack! Luckily, the Drosselmeyer that was on that night knew exactly where it was and ran to get it. Company members were making me freak out even more on stage by saying "'oooooooooooo, you are so fired"... I really thought I was.

What do you do for the holidays?

In the past years, we usually dance Christmas Eve and then have the next day off for Christmas. I love Christmas so it’s hard to be away from my big Italian family. This time of the year always reminds me of the fun that my brothers and I have had throughout our childhood years. However, the dancers usually get together on Christmas day at someone's house for a big feast. A few years in a row Joffrey dancer Valerie Robin has held it at her and her husband’s house. She is an incredible cook. We all play games, eat and relax together. It’s sort of like family away from family.

Why should our readers come to see The Nutcracker?

Joffrey's Nutcracker is truly the best. I can understand when people say "Oh, I've seen it already," but in all honesty each year it changes. There are a lot of new dancers dancing fantastic new roles. The company has a youthful vibrant look to it that will be refreshing for all to see. I feel that it’s important to come every year because you will always see something new. Especially with the Chicago Sinfonietta's wonderful live music.

Is touring Nutcracker any different than performing it in the city?

Sometimes. The stages are all different sizes and shapes. Sometimes the set is too big or too small for the stage. The children's cast changes in each city also.

What is your earliest memory of The Nutcracker?

Probably seeing the New York City Ballet's version live for the first time. I remember thinking it was so cool that it was actually snowing on stage (at the time I wasn't dancing so I thought it was real)!

As a dancer, what is most challenging about performing The Nutcracker?

Nutcracker is challenging for the whole company. I still struggle getting the technicalities of the steps as well as getting the musicality down correctly. The snow scene, choreographed by Gerald Arpino, is very fast with a lot of petite allegro jumps, and yet you still have to hold your spacing and do the port de bras in the Arpino style (it’s a little more angular and sharper than classical ballet port de bras). I have been dancing it for many years but it is still something I have to work at to keep clean. I also think staying in good physical health is one of the biggest concerns. We do a lot of shows and alternate a lot of parts so you have to stay in top shape. I make sure to take class (keeps my stamina up and my technique building) and go to physical therapy (they give us exercises to build strength and stay uninjured).

For all the behind-the-scenes magic, be sure to follow the Joffrey on our official blog at http://jpointe.blogspot.com.

Celebrate the Holidays with the Auditorium!

We are ringing in this holiday season with shows for every audience! Bring the family, bring a date, or just bring yourself to one of our live theatre, dance, and music events, all presented in Chicago's Historic Auditorium Theatre!


Boston Pops Esplanade Orchestra
with Rockapella, 2011 Holiday Pops Tour

Dates: Wednesday, November 30, 2011
Times: 7:30 pm
Price: $127-$32

For the first time ever, "America's Orchestra" joins America's leading a cappella group for an unforgettable holiday show.



Dave Koz and Friends, Christmas Tour 2011
Presented by Live Nation

Dates: Friday, December 2, 2011
Times: 8:00 pm
Price: $87-$47






The Joffrey Ballet, The Nutcracker

Dates: Friday, December 9- Tuesday, December 27, 2011
Price: $130-$30

America’s #1 Nutcracker and a Chicago holiday tradition!
Photo by Herbert Migdoll. Dancers Victoria Jaiani, Fabrice Calmels.





The Disco Biscuits
Presented by Silver Wrapper

Dates: Friday, December 30, 2011 & Saturday, December 31, 2011
Times: Doors at 7:30 pm both nights
Price: $67-$32




Also hosted at the Auditorium Theatre:

Willow Creek Chicago: A Chicago Christmas

Dates: December 4, 2011
Times: 10:00am, 2:00pm and 5:00pm
Price: Free

Experience this compelling, modern retelling of the Christmas story through film, music and dance.
Childcare provided at 10 AM service for ages two and younger.

Don Quixote’s Flights of Imagination

By Lucia Mauro

Despite Don Quixote’s infectiously lighthearted tone, expect to ponder a substantial helping of source material. The Joffrey Ballet’s new production, reimagined by former Bolshoi Ballet principal dancer Yuri Possokhov, runs Oct. 12-23 at the Auditorium Theatre. It references the original Miguel de Cervantes two-volume novel; a series of impressionable etchings; and cinematic technique – not to mention one of the more popular versions of the ballet by Marius Petipa for the Bolshoi in 1869. This year, two drastically different versions of Don Quixote figuratively gallop (one already galloped) across the Auditorium stage. In the spring, Boris Eifman’s radically psychological interpretation, subtitled Fantasies of a Mad Man, placed the titular knight-errant in a psychiatric ward where his ability to dream was clearly stifled.

We’ll discuss both the Joffrey Ballet and Eifman Ballet of St. Petersburg. But, first, a little history.

Even before virtuoso choreographer Petipa set a story from Cervantes’ 1615 Book Two to dance, earlier ballet masters – from Franz Hilverding to John Georges Noverre -- found Don Quixote an inherently balletic subject. Yet, throughout the full-length narrative ballet’s evolution, the Don himself has served as a rather bumbling framing device for the more elaborate plot of the beautiful Kitri’s love affair with poor barber Basilio against her father’s wishes. With the exception of George Balanchine’s Don-centric 1965 production (which paired the choreographer with his own personal Dulcinea Suzanne Farrell), the ballet has traditionally reveled in the perils and joys of thwarted Spanish lovers awash in a pseudo-Iberian pastiche of swirling matador capes and fluttering fans – all set to the buoyant Ludwig Minkus score.

In Eifman’s staging, Don Quixote escapes his emotional torment by pretending to live among the villagers celebrating the wedding of Kitri and Basilio. His aesthetic fuses extreme ballet with avant-garde ideas. And when viewing Eifman’s often interior, non-literal work, it’s important to keep in mind that he frequently zeroes in on themes of artistic freedom that reference his own struggles as a ballet iconoclast during the Soviet era. Eifman’s Act One dancing mental patients could have crossed into the realm of parody or, worse, mockery. But, instead, they were sympathetic and believable. Act Two, nevertheless, appeared disconnected in the sense that it mainly recreated, with a few twists and turns, the last act of the familiar ballet.

The Joffrey’s pared-down, two-act production aims to stay true to the characters and structure of the Petipa blueprint; only the emphasis has shifted back to the Don. Here he is a stronger through-line, together with sidekick Sancho Panza and the protagonist’s scrawny horse Rocinante, an endearing life-size puppet created by Cynthia Von Orthal. The only vague similarity to Eifman is the desire to get inside Don Quixote’s head. In the novel, he is inspired to embark on a string of misadventures after consuming hefty servings of chivalric romances. The windmill-tilting knight places himself in the service of his imagined unattainable lady, the Dulcinea.

Ashley Wheater, the Joffrey’s artistic director, cites French artist Gustave Doré as a key inspiration. Doré, known for his wood- and steel-engraving, most famously illustrated Cervantes’ novel in the 1860s. These witty and fastidiously detailed black-and-white etchings have served as the visual soul of Don Quixote. One in particular portrays the Don as an older gentleman reading while being engulfed by clusters of fantastical literary characters. That singular image best sums up the Joffrey’s presentation, especially in terms of Wendell Harrington’s filmic-illusionistic projections that blur the line between fantasy and reality. Is this Don Quixote the Doré drawings come to life, or are we witnessing the fertile mental wanderings of Cervantes’ idealistic man from La Mancha? Most likely, we’re experiencing something more potent: the enduring power of the imagination.

Lucia Mauro is an arts writer and dance critic for several publications, as well as WBEZ-Chicago Public Radio. She is an adjunct professor of dance history at Loyola University Chicago and moderator of the Auditorium Theatre’s FireSide Chats.

Q & A with Dancer Fabrice Calmels of the Joffrey Ballet

Fabrice Calmels and dancer Valerie Robin rehearsing Bells.
Choreography by Yuri Possokhov, photo By Herbert Migdoll

What roles are you dancing in Rising Stars?
I am dancing in Edwaard Liang's new work, Woven Dreams, as well as Yuri Possokhov's, Bells.

When did you start learning the choreography?
I actually started learning the choreography last year when we had the choreographers come in for a few weeks to begin their creations, amidst preparing for various other upcoming shows and tours. Now they have come back in the last several weeks. We are very close to the performances, and are simply adjusting, fine tuning, and perfecting the nuances of each ballet to be just right for our audience.

How many hours have you spent rehearsing Woven Dreams and Bells?
Unfortunately, there is no way to determine an exact number of hours put into the production because every dancer puts in his or her own personal time in and out of the studio to prepare themselves for this production. Both pieces by Edwaard and Yuri are world premieres and they are great representations of the quality of dancers at the Joffrey. And for that reason, each dancer is committed to the choreography and to showing Joffrey at its best.

Fabrice Calmels rehearsing Bells
(with choreographer Yuri Possokhov
and dancer Valerie Robin).
Choreography by Yuri Possokhov,
photo By Herbert Migdoll.

What are your thoughts on the upcoming Rising Stars program?
I have to say, I think Rising Stars is an amazing program. When there are new works created on us as dancers and when there is a high expectation for successfully displaying a new work of art, we are constantly growing and improving the program. The two world premieres are so fresh and completely molded for the individual Joffrey dancer that each dancer is constantly finding our own voice in these works, and we wouldn't have it any other way. The pieces are growing and becoming better, which we didn't think was possible because it is new, it is ripe, and there is nothing stagnant about it. We aren't learning old works and are not simply filling a role that has been done before by someone else. When roles are created on your body, it allows you to bring a unique fervor to the work. I recommend our audiences buy tickets for both weekends because I guarantee you will be surprised to see the artistic evolution even within our two week run.

Describe a typical performance day.
Up until performance time, the work we have put in for these pieces has been nothing short of what I call a Titan workout. Choreography was given to us as dancers every day, and so at any given time you would see us constantly practicing to get the movements right, partnering to find the right musicality, getting familiar with the music to understand the tempo, each other, and our interpretations. We worked hard to sync up with one another to make a cohesive unit on stage. Now that the work off the stage has been done and its performance time, I rely on all that work I have put in until now to guide me, and just focus on enjoying my job. I leave myself plenty of time backstage to warm up, prepare my make-up, and mentally get myself to a place where I will enjoy the moment on stage rather than worry about the steps. The work has been done, and now is time to enjoy it.

Rising stars is a very exciting program, and is certain to be the final star of the Joffrey Ballet for the 2010-2011 Season.


Joffrey Ballet Rising Stars
May 14-15, 2011
Three contemporary choreographers partner with the powerful Joffrey dancers to push the boundaries of dance while exploring the lives we live in our dreams.

Woven Dreams, Choreography by Edwaard Liang
Bells, Choreography by Yuri Possokhov
Night, Choreography by Julia Adam

For more information and exclusive behind-the-scenes clips, visit http://www.joffrey.org/risingstars.

Born and raised in France, Fabrice Calmels began ballet training at age 3, following in the steps of his younger sister. In 1991, Mr. Calmels entered the Paris Opera School, under the direction of Claude Bessy. Mr. Calmels joined The Joffrey Ballet in 2002. Since joining the Joffrey, Mr. Calmels has performed in Age of Innocence, Apollo, Carousel a Dance, The Clowns, I/DNA, In the Middle…Somewhat Elevated, In the Night, Italian Suite, Light Rain, Les Noces, The Nutcracker, N.Y. Export: Opus Jazz!, Le Sacre du Printemps, “…smile with my heart,” Suite Saint Saëns, Valentine, Midsummers Night Dream, Apollo, Othello and After the Rain.

Do you check in? If so, get a free beverage on us!

Since last year, we've been watching the trends in social media closely and are very excited about the buildup of interest in location-based social networks. Since starting our Foursquare account almost a year ago, we've now expanded to Gowalla, SCVNGR and Facebook Places. Almost daily, we've been glued to our computers watching the steady increase in check ins to more than 1,850 on Foursquare alone!

As a special thank you, I'm pleased to offer ticket buyers who check in before any performance of The Joffrey Ballet's Nutcracker a FREE small hot chocolate or coffee before the show! We're excited to have you at our theatre for what has become a holiday tradition for many and are happy to give you a little something as a token of our appreciation.

Thanks again and don't forget to check in!

-Joe

Check in on one of these networks to get a special reward:

Joe Hallissey is a member of the Auditorium Theatre marketing team and the Digital Marketing Associate.

Disclaimer: Limit one redemption per customer. Offer valid before performances only and subject to availability.  We reserve the right to end this promotion at any time.

Student Rush: $15 Tickets for The Joffrey Ballet's Nutcracker

One of our favorite holiday traditions opens on December 10 - The Joffrey Ballet's Nutcracker. College students can experience this sugar plum delight by taking advantage of $15 Student Rush tickets.

Student Rush tickets are available by going to the Auditorium Box Office (50 E. Congress Pkwy), one hour before show time. There's a limit of two tickets per valid college ID; tickets and their locations are based on availability.

Visit the Joffrey Ballet's website for more information and a preview video of this Chicago holiday tradition!

 
 

Performance schedule:

Friday, December 10 at 7 pm	Saturday, December 11 at 2 & 7 pm
Sunday, December 12 at 2 pm	Thursday, December 16 at 7 pm
Friday, December 17 at 7 pm	Saturday, December 18 at 2 & 7 pm
Sunday, December 19 at 2 & 7 pm	Tuesday, December 21 at 2 & 7 pm
Wednesday, December 22 at 2 & 7 pm	Thursday, December 23 at 2 & 7pm
Friday, December 24 at 2 pm	Sunday, December 26 at 2 pm

You can also be among the first to know when Student Rush tickets become available for other shows by signing up for e-mail Student Rush Alerts. Contact Nicole Wetzell at nwetzell@auditoriumtheatre.org or 312.922.2110 x 300.

The Joffrey Ballet's The Nutcracker returns Dec. 10 through Dec. 26!

It's that time of year again when Chicago really turns into the Windy City, commuters clutch their gingerbread lattes and tourists and locals alike flock to the Loop for their holiday shopping.

As Chicago's annual winter tradition, the Joffrey Ballet's The Nutcracker returns to the Auditorium Theatre for an exciting run of performances from Friday, December 10 through Sunday, December 26. In a show that's sure to dazzle everyone from Grandma Jean to Baby Billy, The Nutcracker brings a smile to all and is a great way to celebrate the holiday season with the entire family.

Not convinced? See a sneak peek in this video by the Joffrey Ballet!

The best seats are selling fast, get yours today on Ticketmaster.com/auditorium!

$15 Student Rush tickets available for The Joffrey Ballet's Othello

Tickets are available:

Wednesday, October 14 at 7:30 p.m.
Friday, October 16 at 7:30 p.m.
Saturday, October 17 at 2 p.m. and 7:30 p.m.
Sunday, October 18 at 2 p.m.
Friday, October 23 at 7:30 p.m.
Saturday, October 24 at 2 p.m. and 7:30 p.m.
Sunday, October 25 at 2 p.m.

Check out Othello video!

Get Tickets:

In person at the Auditorium box office (located at 50 E. Congress Pkwy)
One hour before show time
Two tickets per valid college student ID
Locations based on ticket availability

Dancer: Fabrice Camels. Photographer: Herbert Migdoll.

Please note: Student Rush are tickets sold at the discretion of the present. Policies may differ.