Duvelson 1

Jonathan Duvelson

Emma Presman

Ballet I

2/12/18

Dreams Come True

As the leaves start falling off the tree, and the air starts to get cold to a crisp, the Holiday

Season sweeps in with its many adventuress for people to enjoy. However one of the greatest

gifts given to us this time of year, is undoubtedly George Balanchine’s The Nutcracker done by

the New York City Ballet at Lincoln Center. I watched this ballet being performed on

December 29nd in two acts with 4 scenes and a prologue.

This particular ballet was based on E.T.A Hoffman’s story, The Nutcracker and the

mouse King (1816). One of the best components to me was the musical direction of Andrew

Litton. With Andrew Sill conducting, 65 orchestra members gracefully played the music of

Peter Ilyitch Tschaikovsky. The ballet’s founding choreographers were George Balanchine and

Jerome Robbins, while the NYC Ballet’s resident choreographer was Justin Peck. The ballet’s

company was large and featured both adult and children of great talent alike. The breathtaking

scenery was crafted by Rouben Ter-Arutunian, beautiful costumes by Karinska, and light was

done by Ronald Bates and Mark Stanley. As someone who danced around to the CD growing

up, I remain speechless being able to finally see it. The talent and professionalism of the entire

company is remarkable, and paired with the impeccable technical elements of the show, this

production brought back the feelings of why I do what I am doing and how ballet is a beautiful

form of art.
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Let’s first start with the David H. Koch Theater, which was where The Nutcracker took

place. The architecture of the building is both spacious and elegant , and provides a classy high

end fitting setting for this ballet. From what I have read, this venue “features one of the largest

interior event spaces in New York City” with “a 7,875 square foot promenade area that features

inlaid Travertine marble floors, forty-foot gold leaf ceilings, dramatic spiral staircases and

balconies overlooking the fountain in the Plaza of Lincoln Center. The auditorium seats 2,586

with a continental style configuration on the orchestra level, five Ring levels studded with jewel

faceted lights, and an immense spherical chandelier as the centerpiece of the ornately paneled

gold ceiling”. The stage has an integrated permanent sprung dance floor, and a movable

Orchestra pit accommodates up to 90 musicians”. I was sitting in the Fifth Ring on the right, in

seat CC7, and my view the theatre was excellent. The theater had great acoustics that swelled

the sounds of the live orchestra, which sounded incredibly dynamic and beautifully

complemented what was happening on stage. There were moments where hearing the music

made me remember the joy I had as a child dancing in the living room! Their presence and

partaking in the production made it all the more worth while to be there.

The ballet was composed of two acts.  At the start, it’s a snowy Christmas Eve.   The

Stahlbaum family is hosting a Christmas party, in which many members of their family attend.

Games are played and the children dance in pairs, the parents watch and join, and the stage is

full of cheer and family.  As dancing continues, a little girl named Marie is given a wooden

Nutcracker. The party comes to a close as it is time for the little girl to go to sleep. I witnessed

acting come into play particularly during this scene and paid special attention to the specific

interactions between both the children and adults of the company as they expressed excitement

over Christmas eve celebrations. Most of the choreography during this dinner party featured
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partnering, rather than heavier ballet, with the children often mirroring what the adults would be

doing. This all occurred within the set of a Victorian aged living room, which featured a

majestic Christmas tree surrounded by presents, a paned-and-draped window, and a love-seat. 

 When Marie falls asleep, something is not right and she suddenly wakes up to mice and

nutcrackers the size of her and a Christmas tree that now towers over the room.  The mice and

nutcracker begin to fight.  One on one partnering is used to show the defeat of each individual

mouse.  Once the mouse king dances with Marie’s nutcracker, the king is slain, and the

nutcracker turns into a handsome prince and runs away with Marie.

Soon the time came for the second act, and the curtain opened to display a completely new

setting. The stunning set for this act, complete with a “Victorian Gothic colonnade made of

candy sticks and white lace doilies, very airy, which floated in front of a pink cyclorama”

enforces the concept that the Nutcracker Prince and Marie have traveled to a new kingdom,

known as the Land of Sweets. An ensemble of sweet young angels opened the second act with

what can be described as a “ceremony of celestial gliding”, as they moved across the stage in

crisscrossing paths. These angels, along with the Sugarplum Fairy, introduced Marie and the

Nutcracker Prince, who were then also greeted by the rest of the subjects of the Land of Sweets.

These subjects were costumed in color coordinated outfits that represented what “sweet” or

“delicacy” they were.

After the Prince recounts how they battled the mice and how Marie helped him to defeat

the Mouse King, they are lead to a throne to be entertained by the subjects. First up are the Hot

Chocolate Dancers from Spain, whose choreography prominently featured partner dancing to

the sound of clicking castanets. Following this performance and another by Chinese Tea
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dancers, the lights dimmed for a sultry performance by an Arabian Coffee Soloist. Dressed in a

sheer costume highlighted by the glow of ultraviolet lighting, the Arabian dancer moved

elegantly across the stage in ways that showcased her beautiful extension and clean lines.

These skills were especially enforced by the bells she wore around her ankles, which

would ping out during certain extensions to enunciate the beat of the music. I thoroughly enjoyed

this small detail to her performance, although part of me wished her choreography had been

more legato to even better showcase her lines. After this number came one done by the Candy

Canes, which were reimagined by Balanchine based off a character he once danced as in an older

production of the ballet. The dance of the Candy Canes incorporated the use hula hoops, which

the main adult dancer used for impressively as almost a sort of jump rope. The children framed

him with their formations as they danced around with their own smaller hoops. Following this

dance was performances by the Marzipan Shepherdesses and Mother Ginger, with her eight little

polichinelles. Then, as the show began to transition to some its final numbers came the Waltz of

the Flowers. Dressed in long, flowing tutus of pastel colors, the dancers portrayed elegant

flowers, even in their opening and closing formations. They dipped and rose and circled around

the Dewdrop Fairy, whom demonstrated beautiful extensions, long lines, and very clean turning

abilities throughout the number. The number again relied on the recurring ripple effect and

partnering, while also featuring crisscrossing, circling, and inverting formations. My favorite

number of the second act was by far the Pas de Deux between the Sugarplum Fairy and her

Cavalier. Both dancers were dressed in mint green costumes, and I could tell very early on into

their performance how committed they were to showcasing each others as partners. The Cavalier

helped her to pull off graceful turns and showcased her gorgeous extensions. During the first
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crescendo of the orchestra towards the end of the number, the Cavalier turned the Sugarplum

Fairy to face him and held her so she could completely arch her back and unfold to the audience.

The larger crescendo came with a huge lift that was both beautiful and dramatic, and it seemed

almost effortless as they matched the giant swell in orchestrations. There was also an impressive

moment where the Cavalier pulled the Sugarplum Fairy by her hand across the stage while

holding her still in an arabesque.

Overall, The Nutcracker is one of the most well-known and anticipated ballets of any

season.  While it only appears around Christmas time, seeing a production is an unforgettable

experience year round.  I hope one day I have the opportunity to be in any production of the

nutcracker so that my childhood dream can be fulfilled and I will no longer have to dance around

the coffee table in my living room. The technique and grace seen in all the dancers, even the

children, is something I aspire to have. After seeing the production, I also appreciate all of the

hard work that we do in each ballet class each day. Now in every Leap, turn, plié, and tendu, I

will be reminded of the dancers onstage tonight and it will further me in my goals of being a

dancer.
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