Tag Archives: Nutcracker

A Sweet Treat: Oakland Ballet’s Nutcracker

Oakland Ballet Performs Graham Lustig’s The Nutcracker
Paramount Theatre, Thursday, December 23, 2010

A new dance company is like a box of chocolates: You don’t know what to expect, so you have to just give each piece a try and hope it’s a tasty one. So it was with Graham Lustig’s The Nutcracker, a bonbon-themed version that marked the eagerly anticipated premiere of the newly reincarnated Oakland Ballet Company. We all showed up and hoped for the best; happily, Lustig and Oakland Ballet delivered a sweet treat for all to enjoy.

Artistic director Lustig sets his Nutcracker in 1915, a time period that lends refinement to the Act I party. Hewing to tradition, the party features pastel Edwardian costumes, formal dances and buttoned-up kids who are required to wait patiently as gifts are stacked before them. Naughty Fritz torments his sister, Clara, with a dead rat and, of course, breaks her Nutcracker doll, laying the groundwork for her dream. And it’s in the dream where Lustig works some very enchanting magic.

Children dressed as rats wield forks and knives against the toy soldiers in a battle that leads not to massive rodent carnage, but culminates in an act of mercy by Clara (beautifully danced and acted by professional ballerina Stephanie Salts), who earns the esteem of all by sparing three mice from the Nutcracker’s sword. Clara’s reward is a handsome cavalier (Connolly Strombeck) and a trip to the Land of Sweets by way of the Frozen Forest, a snowy stand of birches inhabited by Snow Maidens and fluffy dancing snowballs who stole the show (surely to the great pride of the children who leapt around in those impossibly plump costumes).

Graham Lustig's The Nutcracker. Photo: Ron Lessard
Rather than a King and Queen of Snow, Lustig has Clara and her cavalier perform the pas de deux in the forest. Because Clara is played by an adult, the dance takes on a romantic sensibility and develops the theme of Clara as a girl on the edge of womanhood, which works very well—it gives Clara an arc that continues through the entire ballet, rather than making her a passive observer of the wonders of Act II.

But Lustig’s Act II is still a girl’s paradise, a brilliant and joyous world inhabited by dancing peppermints, frolicking bonbons, clowns and confectioners. Children play all of those roles, adding their natural, unwitting wit to the performance. Professional adults take on the Spanish, Arabian and Russian dances, as well as an elegant German pas de trois that substitutes for the familiar French/Shepherdess/Marzipan dance.

Complementing the festive mood Lustig has created, Zack Brown’s sets re-create a sunny garden with a stone wall (just right for the little ones to peek over and around), and his ruffled, sparkly costumes surprise and delight the eye as pastels of the party give way to petal pinks, leaf greens and baby blues, vibrant red, turquoise and gold. Music director Michael Morgan led the Oakland East Bay Symphony through a smooth performance of the score.

The party scene would benefit from more dynamic storytelling, but Sarah Bukowski, as Mrs. Stahlbaum, enlivened it with her lyricism and charisma, which were also put to good use in her acrobatic Arabian dance. Jekyns Pelaez squired Rachel Speidel Little as the Sugar Plum Fairy, while Oakland Ballet Company veteran Denise Schmalle was a standout in the Spanish dance and the Waltz of the Flowers.

As Clara, Stephanie Saltz was tasked with carrying the entire story, and she came through with her superb technique and equally fine acting ability. When she was onstage, the eye was drawn to her, and she projected the emotions of her character clearly without miming (which kids without ballet training wouldn’t understand anyway). Thanks to excellent chemistry, she and Strombeck conveyed delight in each other’s company, so vital to making the story fly.

It is something of a logistical miracle that the bicoastal Lustig (who has other projects going in New Jersey as well) was able to pull this production off at such a satisfying level after joining the company only in fall of 2010. As he gets to know the Bay Area dance community, he will be able to develop a company of consistently superb dancers who can bring every aspect of his production fully to life. Judging from the cheers of the audience, the community will be thrilled to see Oakland Ballet Company back on stage soon.

© 2010 Claudia Bauer/SpeakingOfDance.com

Awww, Nuts!

Contra Costa Ballet’s Story of the Nutcracker and Mark Foehringer Dance Proejct’s Nutcracker at Zeum
Friday, December 3, and Sunday, December 5, 2010
Countless kids get hooked on The Nutcracker the first time they see the Snow Queen bourrée onstage in a cascade of sparkles, and we—I mean, they—face dreadful withdrawal symptoms (lethargy, pique, bitter loss of illusion) if they don’t see The Nutcracker every year for the rest of their lives. But a full-length Nutcracker is a big commitment for a tot—sitting through that tedious grown-up party is a lot to ask before delivering the queen and her retinue.
That’s where little-kid-friendly productions come in: Ballet’s gateway drug, these hour-long introductions hit the highlights of plot, costume and music, whetting young appetites for the Nutcracker habit that’s sure to follow. And Contra Costa Ballet’s Story of the Nutcracker (at the Lesher Center for the Arts, Walnut Creek) and Mark Foehringer Dance Project’s Nutcracker at Zeum are just waiting to turn Bay Area children into happy Nutcracker heads.
Contra Costa Ballet's Story of the Nutcracker. Photo: Marty Sohl.

A twenty-year tradition, Story of the Nutcracker has introduced a generation of little ones to the holiday tale. Clocking in at one hour, with no intermission, this production honors the classical tradition with waltzing parents (mercifully shortening that pesky party to a few minutes), a full mouse battle, the international dances, the Waltz of the Flowers, and the grand pas de deux. The taped score is necessarily whittled down as well; musical transitions could be smoothed out here and there, but all of the famous passages are included.

Few, if any, families read E.T.A. Hoffman’s original story to children, so a guiding hand is a big help in identifying the characters and making Victorian culture relevant to today’s youngsters. Narrator Marlene Swendsen, herself dressed in period flair, ably leads children into the story (the narration doesn’t introduce the cultural dances, so parents may want to tell kids what they’re seeing) and wrapping it up at the end.

Most of the roles are danced by Contra Costa Ballet students, notably the talented and charismatic Alicia Wang as this year’s Clara. The school’s youth company performs the Ribbon Candy and Flowers ensembles, with the statuesque Kristen Isom in the plum role of the Rose. Superb local professionals play lead roles and cavaliers: this year, it’s John Segundo as King Mouse and Chinese Lion, Katarina Wester as the maid, Diablo Ballet’s Tina Kay Bohnstedt as the Sugar Plum Fairy, and from Company C Contemporary Ballet, Robert Dekkers as her graceful Cavalier, Taurean Green as Toy Soldier and Trepak, Edilsa Armendariz in a beautiful turn as Arabian Coffee, Kristen Lindsay as the Ribbon Candy lead, and Company C’s artistic director, Charles Anderson, as the mysterious Drosselmeier.

Across the Bay, Mark Foehringer Dance Project brought its Nutcracker at Zeum back for a sophomore run after a successful premiere in 2009. Fresh, colorful and inventive, this version gets a lot done with a cast of just 17 dancers, who manage miraculously quick costume changes in order to pull off multiple roles.

Nutcracker at Zeum. Photo: Rob Kunkle.

Condensing the story into a fast-moving 50 minutes, Nutcracker at Zeum makes a few tweaks for the sake of silliness and celerity: Mother Ginger and her rambunctious Kinder bring Drosselmeyer a gingerbread house; when the Mouse Queen sneaks in and nibbles on it, the annoyed toy maker and his nephew ship her off to Siberia. Naturally, the Mouse King comes looking for the missus, and the ensuing chaos sweeps up everyone from little girls with cupcakes on their heads to Clara in her pretty pink dress and Chinese Tea in a rainbow unitard.

The small stage at Zeum, a popular children’s museum near the Yerba Buena Center for the Arts, demands inventive staging, and Foehringer uses every inch of the house, including the aisles, to his advantage. Fortunately, the space is large enough to include the eight-piece Magik*Magik Orchestra, playing Tchaikovsky’s score as orchestrated by Oakland East Bay Symphony music director Michael Morgan. As energetic as the performance, the live music enriches the show—and kids’ theatrical education—immensely.

A superb cast lays a foundation of fine dancing beneath the lighthearted fun. Brian Fisher, Chad Dawson, LizAnne Roman, Taylor Ullery, Juan de la Rosa, Jetta Martin and Jaclyn Stryker play the major characters (and some of the minor ones); as a group, they’ve danced for some of the world’s best ballet and contemporary companies, and it’s easy to see why. Young dancer Thomas Woodman plays supporting roles, and two casts of kids charm alternate as sweets and soldiers. This is just the beginning for Nutcracker at Zeum, so we may well see them in the grown-up roles someday.

Story of the Nutcracker runs for one weekend
each year; look for tickets in autumn 2011.
Lesher Center for the Arts, 1601 Civic Drive, Walnut Creek
LesherArtsCenter.org or ContraCostaBallet.org

Foehringer Dance Project’s Nutcracker at Zeum
continues through December 19:
Saturdays 11 a.m., 2 p.m., 4 p.m. and Sundays 11 a.m., 2 p.m.
Zeum, 221 Fourth Street (@ Howard), San Francisco
$25  BrownPaperTickets.com or mfdpsf.org

© 2010 Claudia Bauer/SpeakingOfDance.com