REVIEW: ‘The Nutcracker’ is back where it belongs at New York City Ballet
Photo: One of the highlights of George Balanchine’s The Nutcracker is the dance of the Snowflakes at the end of Act I. Photo courtesy of Erin Baiano / Provided by NYC Ballet with permission.
NEW YORK — George Balanchine’s timeless take on The Nutcracker is back at New York City Ballet after a heart-wrenching cancellation last year because of the COVID-19 pandemic. It’s not the holiday season in the Big Apple without this iconic, memorable rendition of Tchaikovsky’s classic ballet. Thankfully the Sugarplum Fairy and her Cavalier, plus the Mouse King, Snowflakes and Mother Ginger, are back with not even a speck of dust on their applause-inducing moves and movements.
Audience members at the Lincoln Center venue are first met with a stunning and inviting curtain featuring a sparkling and blue-landscaped wintry scene where an angel hovers above a snowy village, with promises of yuletide cheer and family get-togethers. As Act I begins, with Andrew Litton conducting an exquisite orchestra who are expert in bringing Tchaikovsky’s well-known compositions to life, the Stahlbaum family are throwing a soiree for invited guests. There are children making merry, jumping as high as they can in sheer exuberance and boundless energy, while the parents are more stately and proper, dipping in and out of gracious bows in wonderfully realized costumes by Karinska.
Eventually, as this well-known story goes, Herr Drosselmeier (Robert La Fosse) turns up with a present that will change the life of Marie (Athena Shevorykin). The gift, of course, is a nutcracker (Reed Ouimet), who bands together with Marie to take on pesky Mice and a multi-headed Mouse King (Gilbert Bolden III). There are mock military battles, with fun swordplay and cannons firing left and right. Once the villains are vanquished, the young children are whisked away to a dream-like world filled with dancing Snowflakes and a Land of Sweets that features a parade of infectiously entertaining dance routines.
Tchaikovsky’s score fills the theater with its sweeping melodies and holiday spirit. This is the soundtrack of Christmas for many audience members, and Balanchine, the legendary choreographer and founder of New York City Ballet, pairs perfectly appropriate moves for each of the musical vignettes. Although the dance icon is deceased, his presence is still felt beneath the proscenium.
There’s no beating the Snowflakes dance that closes Act I. The routine, featuring 16 dancers, plays out in a wintry landscape where the snow blows in from all directions, yet somehow the dancers don’t miss a step while the blizzard cuts down visibility. It’s one of the most beautiful and startling images of the show, evocative of a stuck-in-time postcard, busy with swirling flakes and graceful balletic movements that complement the stormy environs.
The second act is filled with bright colors and tasty sweets, with dancers bringing to life Hot Chocolate, Coffee, Tea, Candy Canes and more. Perhaps the most satisfying treat of all is the grand finale of the Sugarplum Fairy and her Cavalier (Megan Fairchild and Gonzalo Garcia), a fitting ending to a magical evening of choreographic delights.
Balanchine’s version of this oft-produced ballet is seen as the golden standard, and that’s not only for nostalgic reasons. His interpretation, featuring so many winning routines, is a perfect marriage between music and movement. His take honors the youthfulness of the cast, letting the young performers keep their exuberant energy intact, but he also doesn’t forget about the gracefulness of the adults. For every childlike wonder that is featured in the show, there’s a sequence with more veteran performers creating picture-perfect images with impressive choreographic vocabulary.
Like a Christmas card saved from one’s childhood, Balanchine’s The Nutcracker is a welcome memory every Christmas season. This one is the best in town.
By John Soltes / Publisher / John@HollywoodSoapbox.com
George Balanchine’s The Nutcracker plays through Jan. 2 at the New York City Ballet at Lincoln Center. Running time: approximately 2 hours. Click here for more information and tickets.
December performance 2021:
I saw the first Balanchine Nutcracker performance at The City Center Ballet as a small child and of course many productions since. The tree is still outstanding but the scenery execution leaves much to be desired, especially the show curtain (angel) and the downstage scrim of the hallway, nor can you read the grandfather clock which should show midnight clearly. The winter scene could use a repaint (the hanging boughs of snow look like frozen polar bears) though the stage magic of falling snow is well, magical.
The corps de ballet was not as synchronized in their movements as usual but the challenges faced during Covid must have made rehearsal difficult.
Pazcoguin as Coffee was quite good, Henson as Tea was exuberant, Zuniga was doing well til he missed a hoop in the finale (his leaps were laconic), Woodward was technically proficient.
This is not a rave review but as a New Yorker I’ve been privileged to be able to attend the best Nutcracker performances in the world. Step it up guys!