The Atlanta Ballet’s Nutcracker opened this weekend. It has been advertised as having “50% more magic.” I don’t know about that, but it is a feast for the eyes and a fitting start to the holiday season. The Fabulous Fox is a visual treat unto itself; the sets are beautiful; the costumes are stunning. This version of the ballet is set in Russia, and careful attention was paid to cultural and period costumes throughout the ballet, as well as to making sure they didn’t impede the dancers or hide the choreography.
The Nutcracker has been a tradition in the U.S. since the 1960s, but its history is much older. The music was commissioned from Pyotr Tchaikovsky by iconic ballet choreographer Marius Petipa, and it was first performed at the Maryinsky Theatre in St. Petersburg, Russia, on December 17, 1892. It was a flop. Although Tsar Alexander III liked it, neither the critics nor the audience did.
The ballet was first performed in the U.S. December 24, 1944, by the San Francisco Opera Ballet under the direction of William Christiansen, who also danced the Cavalier. This time, the ballet was a success. It was further developed by George Balanchine for his New York City Ballet, by whom it was presented in 1954. It quickly went viral, becoming a Christmastime must for young children and their families all over the country by the late 1960s. My personal favorite, as far as the full production goes, is the Houston Ballet version from the late 1970s.
There are a lot of positives to the Atlanta Ballet version, not least of which is the dancing. The weakest parts of many Nutcrackersare the dancing by the younger children. Sharon Story, director of the Atlanta Ballet school, and the ballet mistresses should be receiving an award: All of these children were beautifully trained and rehearsed, and technically polished. This production gives the audience a chance to scout the upcoming generation of dancers. Alessa Rogers, who danced Marya, is definitely one to watch.
There were two or three unstretched feet among the youngest cast members, but all-in-all, the excellence of their training shows.
The best dancing, of course, came from the professional company members. Some notable performances in Act I were by the magic Meissen dolls, Peng-Yu Chen and Jared Tan, who managed technical feats while still convincing the audience that they were mechanical dolls, and from The Snow Queen, Claire Stallman.
There were also some fun new moments, such as the magical handkerchief of Drosselmeyer. (John Welker, by the way, had me convinced he was an old man—a spry one, but an old man, nevertheless—even though I know better!)
Dance aficionados wait for Act II and the “real” dancing. All of the Sweets danced beautifully, but there were some standouts. The Trepak, danced with amazing stamina by Heath Gill, Brandon Nguyen, and Benjamin Stone, was justifiably a crowd favorite. The Chinese Dragons were simple, but probably employed the most effective use of color, shape, and movement of any of the dances. Abigail Tan-Gamino’s Dew Drop was both lyrical and strong.
I am old and jaded and have seen and danced in a lot of Nutcrackers, but the Pas de Deux between Sugar Plum and the Cavalier made me cry at its beauty. I have not seen Rachel Van Buskirk in a strictly classical role, but she left me breathless with her fluidity, broken by impeccable balances, all presented with the smiling graciousness expected from royalty. Christian Clark managed to be the perfect Cavalier: courtly and taking exquisite care of his partner, giving her support and placing her weight just where she needed it, while still having a personality of his own—and a personality with humor, at that. I have always thought that the music for the Grand Pas de Deux was well ahead of its time, but the traditional choreography is not. John McFall’s choreography was modern without losing the classical flavor, and it fit the music much better than the original.
Usually, the Sugar Plum Fairy and the Cavalier are posing charmingly on the stage during the biggest moments in the music. In this production, they are doing difficult and beautiful lifts during those big moments—and appearing to be having a great time doing them!
There were also things that disappointed me. Unlike the Royal Ballet’s version, the story didn’t hang together very well. I was left wondering whom the Sweets were dancing for, since Marya was absent during most of the second act. And was it a dream or was it real? The ponderous transitions between the scenes were shared with the audience, rather than being magically instantaneous. The Arabian duet is usually one of my favorites, but I felt this one was a showpiece for the audience; I never got the feeling I was spying on a seduction/love scene in the seraglio, as I have in some other versions. The dancers performed it very well, but I wasn’t drawn into the action. Bradley Renner, as Mother Matrushka, was fabulous, but often upstaged the tumbling children.
And then there was the orchestra. It is always a treat to have live music, but it must work. During the Snow Scene, the big moments in the music, filled with cymbal crashes, always seemed to lag behind the big moments in the dancing by about a second and a half. In ballet, the musicians need to be lead by the dancers so those moments are simultaneous. I thought the Snow King, Jonah Hooper, was becoming frustrated with the disconnect. Fortunately, intermission seemed to fix the problem, which didn’t resurface in Act II.
Finally, there was the rearranging of Act II. Marius Petipa, the original choreographer of The Nutcracker, created the template for classical ballet’s Grand Pas de Deux: the large adagio, followed by a variation for the woman, a variation for the man, and a coda. In Atlanta Ballet’s Nutcracker, the master design was dissected, with the Sugar Plum Fairy’s solo variation becoming a duet between her and Marya (nicely performed, may I say), and the other portions occurring at various times throughout the act. One of the points of the Grand Pas is the stamina required of the dancers to complete it. We didn’t get to see that, as they had plenty of rest between sections.
But, I have to say again, the dancing is excellent, there is a lot of pageantry, and The Nutcracker is a holiday tradition nobody should miss. Performances run through December 26 , so you still have time to book your seats if you haven’t yet. The audience loved it, breaking into spontaneous applause throughout the performance, and giving the dancers the coveted Standing O(vation) at the end. In fact, we wanted the cast to have another curtain call or three. But, instead, we were left wanting more, and children were still dancing in the aisles and down the steps of the theatre as the audience filed out…which is as it should be.
“20/20:Visionary”: Looking Back, Looking Forward
Last weekend (March 18-20) the Atlanta Ballet gifted the city with “20/20: Visionary,” three pieces, including a world premiere, presented at the Cobb Energy Center.
The world premiere, “Playground,” by British choreographer Douglas Lee, belied its name by being a shadowy piece danced between upright, rolling chalkboard set pieces. Prepared for a lighthearted, joyful expression of childhood, I was surprised that the work instead exposed the darker side of childhood memories. There were some light moments, such as the towering billboard inscribed with multiple lines reading, “Jackie must remember the steps” – clearly a humorous aside about Jackie Nash, one of the most capable company members and perhaps the quickest study in rehearsal. There were some easily-seen choreographic devices–a lot of theme and variation, even more pushing around of set pieces–but there were a few exceptional moments as well, including intricate, slow-motion manipulation of a dancer’s body by another dancer.
The opening work, “Boiling Point,” by Darrell Grand Moultrie, was playfully performed at breakneck speed. Dancers are often told to “make it look easy,” and the company took that concept to heart. Highlighted against the men in black costumes, the women wore bits of metallic fabric, providing splashes of intense color and exposing powerful bodies with long muscles. The piece began with the stage space open almost to its fullest, and the dancers running across like a rushing river. They rolled, twisted, turned, and slid like water itself. The choreography juxtaposed synchronicity with counterpoint, traditional with innovation. There was a gargouillade, rarely seen even in classical ballets. The lines of the bodies were critical to the piece, and often layers deep. The flow was almost nonstop, with only an occasional flick of a wrist or toss of a head to provide momentary stasis. The standout was Christian Clark, who sometimes nearly managed to integrate himself into the group but then something distinctive and powerful in his dancing drew the eye to him again.
“Home in 7,” a work by Amy Siewert, closed the concert. A portrait of Atlanta, the ballet was a rich tapestry woven from music, spoken word, and movement. Performed in 7 segments to a libretto written and performed by Marc Bamuthi Joseph and an intriguing, haunting string score composed and performed by Daniel Bernard Roumain, the dance, too, was a poem, shimmering like summer moonlight on the Chattahoochee. John Welker opened the ballet with tiny explosions of movement “Secrets.” Perhaps the most enchanting segment was “Home of the Braves:” 5 men using baseball imagery, holding their formation as they slid precisely between pitches and catches. “Red Clay” evoked August nights, intolerance, and redemption—Atlanta history, a story familiar to many. I first saw this ballet in 2011, and it has grown in depth as the dancers have matured technically and emotionally. Atlanta loves its ballet company, and never more than when it showcases its home city.
John McFall is ending his tenure with the company at the end of this season. For newcomers to Atlanta Ballet offerings, this will have been a dynamic performance. For long-time supporters, it will have been an opportunity to reflect on his legacy. There are a couple more opportunities to see the company under his watch, and then he will pass the torch to Gennadi Nedvigin, the company’s fourth artistic director. Stay tuned!
Atlanta Ballet’s “Nutcracker” Enchants
This year, the Atlanta Ballet marks the 20th anniversary of Artistic Director John McFall’s “The Nutcracker.” Attendance is a familiar holiday season tradition for many area families, who line up to see the changes and improvements that occur each year. While the story of the young girl who receives a Nutcracker-who-comes-to-life is familiar to thousands of ballet fans, there are many versions. The Atlanta Ballet’s production is richly designed and elegantly danced.
Originally a failure in St. Petersburg, Russia, in 1892, “The Nutcracker” is now a holiday staple in the United States. Nobody dances it any better than the Atlanta Ballet, and nobody loves it more than a matinee house full of children! Whether they are watching their peers on-stage; hearing the Georgia Youth Choir singing in the Snow scene from the boxes; absorbing the live music from the Atlanta Ballet Orchestra in the pit; laughing with joy at Mother Matrushka’s children, emerging from under her skirts; screaming with glee at the capering Chinese Dragon; or reaching far above their heads to capture a snowflake, the children are enraptured for the two-plus hours the ballet is on the stage—and the adults are mesmerized right beside them.
There are some elements of this version of the ballet that are not my favorites, but the dancers didn’t make that list. Casting is impeccable, and, for me, part of the excitement of revisiting the old standby is seeing the dancers mature, improve, and demonstrate new abilities. The other part is watching the children captivated by the allure of the Fabulous Fox Theatre, the live music, the dancers, and the dancing—and being enthralled myself.
My list of this year’s positives goes like this:
John McFall has to contend with decreasing audience attention spans as we move further into the age of technology, and he tweaks Act I each year to make it more exciting. It is fast-paced. You may want to see the ballet more than once to catch everything! The foreshadowing during Act I was clear and well-conceived, and had the audience eagerly anticipating the return of the dancers to the stage after intermission.
Kurtis Blow and the Hip Hop Nutcracker
A holiday mash-up for the entire family, The Hip Hop Nutcracker, a contemporary work set to Tchaikovsky’s timeless music, embarks on an international tour on the strength of last December’s sold-out performances of the world premiere at New Jersey Performing Arts Center (NJPAC) and United Palace of Cultural Arts (UPCA) in New York City. The Hip Hop Nutcracker will make a stop at Atlanta’s Fox Theatre Saturday, Nov. 28 at 2 p.m.
The Hip Hop Nutcracker is directed and choreographed by Jennifer Weber, artistic director of the all-female hip-hop crew Decadancetheatre in Brooklyn. It is adapted to today’s New York by Mike Fitelson, executive director of UPCA – the work’s original producer – and includes hip-hop interludes remixed and reimagined by DJ Boo and violinist Filip Pogády.
For its stop at Atlanta’s Fox Theatre on Saturday, Nov. 28, The Hip Hop Nutcracker features special guest MC Kurtis Blow, one of the founders and creators of recorded rap music.
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