National Ballet of Canada’s production of The Nutcracker celebrates its 30th anniversary this season. Set in late-Imperial Russia, it was created by choreographer and former NB artistic director James Kudelka in 1995. With sumptuous set and costume designs by Santo Loquasto and atmospheric lighting by Jennifer Tipton, this production is now the crown jewel in the company’s small repertoire of classic ballets. The sparkling snow scene that ends Act 1, followed by the rich ruby red and giant Fabergé egg-festooned Act 2 epitomize the very meaning of ballet in the popular imagination.
And it looks like the company has every intention of continuing to revive this perpetually sold-out show for many years to come. Refurbishment of the lavish costumes including the Sugar Plum Fairy’s iconic tutu are ongoing, as funded by a list of donors noted in the program. In a season otherwise lacking in grand, story ballets, this Nutcracker is the one to see if your taste runs towards pirouettes and romantic pas de deux rather than more contemporary creations.
Nutcracker Tale Re-thought
Kudelka has tweaked E.T.A. Hoffman’s original narrative about a little girl’s rite of passage into adolescence, focusing instead on rival siblings Marie and Misha. The opening scene takes place in the barn of their parents’ estate where they cavort with stable boy Peter, later transformed into the Nutcracker/Prince as their fantastical adventures unfold.
On opening night, Dec. 5, Ella Sachdeva and Angus Crerar danced Marie and Misha, executing their demanding choreography efficiently. They unfortunately didn’t quite capture the squabbling sibling relationship, their movements just a shade too soft and under projected. Given this version of the story throws out Hoffman’s original focus on Marie’s journey to escape the stifling regulations of her family’s rituals, whatever replaces it needs to be signaled more strongly.
This flatness of intention seemed to hang over much of the evening. Act 2’s national-themed dances demand flair and character but lacked spice and sauciness. The Spanish-flavoured ‘Chocolate’ missed southern European bravado, and the Arabian-infused ‘Coffee’ lacked the slinky sexiness I have previously seen company dancers bring to Tchaikovsky’s memorably sinuous oboe melody.
The Season’s Big Classic
As for many ballet companies, an extended Christmas run of The Nutcracker is no doubt crucial to the bottom line. The National Ballet has 33 performances this year, hot on the heels of its new Procession followed by The Winter’s Tale. Perhaps the rather muted opening presentation had something to do with dancers pacing themselves for the grueling weeks ahead?
There were some notable exceptions where a particular dancer, or ensemble number projected the kind of over-the-footlights energy which makes audiences perk up. The little girl behind me voiced her most enthusiastic reaction when the four waiters (Hamish Lowe, Chase Hanson, Aidan Tully and Luiz Anselmo) hammed it up in their zany Cossack-inspired number as they set the banquet table. The evening could have used more of this kind of over-the-top energy.
Nutcracker Prince Convinces
As Peter/Nutcracker, principal Larkin Miller did not hold back, his gestures clearly signaled a convincing bonhomie in the early scenes as a friend to Marie and Misha. In his variation in Act 2’s grand pas de deux, he seized upon opportunities to show off high jumps and elegant, long lines. He elegantly partnered principal Genevieve Penn Nabity as the Sugar Plum Fairy. She brought elegance, and technical brilliance with high attitudes and fearless precision in her famous celeste-accompanied solo.
First soloist Donald Thom conveyed appropriate menace as Uncle Nikolai, the mysterious interloper who delivers the Nutcracker to Marie, and is able to conjure dancing horses and bears. Thom executed Nikolai’s whirling dervish à la seconde turns with impressive virtuosity. Another standout who managed to inject much-needed cheekiness into Act 2 was second soloist Brenna Flaherty as a flirtatious mother sheep who tries to evade the advances of second soloist Noah Parets’ Fox.
Young Dancers Impress
The corps looked like it was still trying to achieve the ultimate in precise unison in Act 1’s snow scene on the one hand, and giddy abandon in Act 2’s waltz of the flowers on the other. Things will no doubt tighten up as the run proceeds. Young dancers from Canada’s National Ballet School impressed in the opening folk-like ensemble numbers.
Under conductor Julian Pellicano, the National Ballet of Canada Orchestra delivered Tchaikovsky’s glorious music with customary professionalism. On opening night there were a couple of small flubs that were a little surprising given how often they have played this score.
Despite some misgivings, this is still a spectacular, holiday entertainment. There is perhaps some need for more careful oversight to stave off routine and ensure the production continues to deliver its maximum impact for decades to come.
National Ballet of Canada’s The Nutcracker continues its run at Toronto’s Four Seasons Centre for the Performing Arts until Dec. 31.
