Joffrey Ballet, Anna Karenina

Everything about this the Joffrey Ballet's remount of the 2019 Anna Karenina tragedy at the Lyric Opera House is lavish and high-end. Although there are moments of clarity and nuance, the action in Yuri Possikhov's choreography falls short of the clear narrative that the program notes suggest. Even the top notch production values and impeccable dancing cannot save the weak story-telling. The dancers have the chops to take on this work, but Possikhov hasn't found the nuance and grit that the story needs.

Tackling a tome such as this Tolstoy's epic and translating that to 2.5 hour-long ballet is no-doubt a daunting task. And thank goodness a written condensed scene by scene synopsis in the printed program provides a simple outline of the story. Even so, this does not seem to be the same story being told onstage. Some key moments are apparent, as in the opening scene of a man's sudden death by train as depicted using projections on a large downstage scrim. Likewise with (spoiler alert!) Anna's suicide, also by train, created with the methodical building of railroad tracks on the stage, and a large spotlight advancing to engulf the shadow of Amanda Assucena's Anna.

What happens in between those two visually spectacular train moments, which bookend the ballet, is sometimes entertaining and almost always confusing. As characters are introduced, partners swap places for no apparent reason. Scenes shift from one location to another with no coherent through line. Even with the help of Tom Pye's color-coded costumes, the straight-up ballet style provides little differentiation between who is who, particularly in the first act and particularly for the women. Lack of tension in both musical themes and dance steps fails to separate the women's identity and character, weakening the overarching trajectory of the title character's journey.

When the choreography does take more risk moving beyond traditional ballet vocabulary, the story succeeds. This happens with Wictor Hugo Pedroso's opening gymnastic solo as the Station Guard who meets his fate, and again when he returns as the Doctor in Act two. His sleek slides and handstands give him uniqueness. Likewise, Edson Barbosa finds an identity in the role of Alexey Karenin. Stiff, military-like movements and a repetitive hand gesture differentiate him from the others.

Tossing concern for narrative aside, the corps de ballet shines with tight precision in a beautiful, sweeping first act ballroom dance in colored petticoats flashing with each swirling lift and grand battement. The same flashes of color appear later in the second act as the corp fluffs up their skirts creating a colorful backdrop to the action downstage. In a clever séance scene dancers swing a large tiffany lamp among a group gathered at a table. Moving the large group dancers seems to be what Possikhov does best and it's all lavish eye candy in the grand opera house. This corps rises to the occasion with lively energy, athleticism and meticulous unison.

Under the baton of Scott Speck, the Lyric Opera Orchestra handles Ilya Demutsky's commissioned score with precision and aplomb. And live vocalists Lindsay Metzger and Jennifer Kosharsky add a human layer to the soundscape. 

The rest of the story is not colorful until the final scene with billowing fabric curtain wheat fields, and golden haystacks. After grinding through the starkness, it's here that Possikhov at last gives much needed warmth and hope. Dancers toss hay with giant pitchforks and move with the airy freedom of an open sky. As Kitty and Levin, Yumi Kanazawa and Xavier Núñez find a joy and sense of release in their new surroundings. In a final gut-wrenching solo danced with emotion deep enough to resonate with the back row five flights up, Núñez expresses simultaneous loss and happiness, something we can all relate to.