“Those headed to the Lyric Opera House hoping to encounter a certain seafaring ginger princess are in for a surprise,” writes Lauren Warnecke.
Germane to Neumeier’s aesthetic is an uncompromising commitment to the world he seeks to create — often at the expense of what ballet audiences might typically consider beautiful. The beauty in Neumeier’s often awkward choreography comes from an awareness that every finger and toe is meticulously placed in service of the wild aesthetic world at hand.
Because of that, and the sheer difficulty of everything about this production — from Neumeier’s unnatural movement language to undulating LED color-changing light tubes depicting the ocean’s surface to Auerbach’s gorgeous, unforgiving score — has to be perfect to be legible. Moments of this “Little Mermaid” are, indeed, perfect. Others were kind of a hot mess on opening night and could have benefited from a bit more time in the studio.
Do not let that discourage you from seeing this prodigious ballet, for which Wednesday night’s cast gave some of the best performances of their careers. Stefan Goncalvez handily secures his place as one of Joffrey’s leading men as the Poet, presumably embodying Andersen himself as the empathetic architect of this story. Yoshihisa Arai, who retires at the end of the season, is magnificent as the conniving, evil Sea Witch.
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