Grand Rapids Ballet’s Nutcracker production is divine, delicious, delightful!
GRAND RAPIDS, MI – Grand Rapids Ballethas spent years of dreaming of a new production of “The Nutcracker.”
Years of planning and designing, and months of choreographing and rehearsing its new production of Tchaikovsky’s “Nutcracker” culminated on Friday in DeVos Performance Hall.
It’s simply divine, delicious and delightful.
“The Nutcracker,” conducted by John Varineau, leading the Grand Rapids Symphony, opened to enthusiastic audience acclaim as Grand Rapids Ballet’s first, brand-new production of the holiday ballet in some 30 years.
Tchaikovsky’s beloved score is the same as before. The tale of Clara and her magical nutcracker doll come to life is mostly so as well. After that, everything’s new.
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Settings by Chris Van Allsburg and Eugene Lee provide the authenticity of the Stahlbaum home down to shadow silhouette portraits over the fireplace mantle that set the scene in early 19th century Vienna. The meticulously painted drops also supply the whimsy of the imaginary Marzipan Castle in the second act, which Clara and her Prince reach by traveling on a boat pulled by dolphins.
Sumptuous costumes designed by artistic director Patricia Barker reflect the handsome, cutaway jackets and empire waist gowns of Regency Era. Clara’s godfather, the eccentric Drosselmeier, naturally, is something of a throwback in an old-fashioned, 18th century long coat and knee breeches.
What’s more, Grand Rapids Ballet’s new “Nutcracker” is a production full of surprises.
Related: A look inside the making of Grand Rapids Ballet’s new ‘Nutcracker’
Lights, projections and special effects add a touch of 21st century magic to supply falling snow, fireworks and scampering mice. As Clara falls asleep on Christmas Eve, her mesmerizing transformation into a tiny figure, coming face to face with now-gigantic mice beneath the Christmas tree, is a wondrous delight you have to see yourself.
Yet glitz, glamour and production values aside, the essence of the show is new choreography by Val Caniparoli, one of the best-known and best-traveled American choreographers working today.
Caniparoli’s “Nutcracker” is classical ballet at its best. Graceful and elegant, understated at times, Caniparoli fills the stage with deceptively simple yet highly technical ballet steps. Frequently his choreography flows as if the dancers were on ice skates instead of toe shoes. But the sheer athleticism of his lifts and carries cannot be dismissed.
The Stahlbaum’s Christmas party in full flow tells the tale of adults conversing and sharing social dances, children playing with drums and dolls, causing an occasional ruckus until distracted by Drosselmeier’s life-size Sugar Plum and Nutcracker dolls, both of which arrive in delightfully deceptive ways.
The battle scene between the Nutcracker and Mouse King was depicted dramatically with music to match and made a seamless transition into the ravishing Snow scene.
Grand Rapids Ballet’s two most veteran members, Stephen Sanford and Dawnell Dryja danced Friday as the Nutcracker Prince and Sugar Plum Fairy. Yet the two don’t dance the grand pas de deux in Act II.
Among the many changes in the re-imagined “Nutcracker, the young Clara, portrayed by Julia Rudlaff in Act I, becomes a slumbering Clara who dreams of herself as a young adult, danced by Yuka Oba.
Dream Clara dances the grand pas de deux because, after all, a girl who dreams of a handsome prince doesn’t sit back and watch some other girl dance with him.
Enraptured by the wonder of her journey Oba blossomed on stage, partnered confidently by Sanford. The Snow scene was unabashedly romantic, danced with the enthusiasm of newly discovered passion between two young lovers. Building upon that foundation, their grand pas de deux in Act II brought forth even greater technical accomplishments.
Dryja, leading 12 little fairies, was radiant in her solo with dainty feet and captivating presence that filled the stage even when dancing alone.
Grand Rapids Ballet last year launched a $2.5 million capital campaign to retire debts, build and endowment, and create a new production of “Nutcracker.” Realizing that vision led the company to expand by one-third this season. No fewer than 32 dancers are on the roster. Thirteen are newcomers this season.
The payoff in the Snow scene and in the “Waltz of the Flowers” was extraordinary with a corps de ballet of 16 snowflakes and 12 flowers, all professionals, apprentices, trainees or guests, who danced with nimble assurance and supple cohesion.
The Arabian Spice divertissement, with Ednis Gomez as a snake charmer and Monica Pelfrey as an asp, was sinewy and sensuous. Kyohei Yoshida’s spellbinding spins in the Chinese Tea divertissement, pursued by a new Chinese dragon, were electrifying.
Therese Davis, Connie Flachs and Laura McQueen Schultz danced with polished poise in the French Pastilles variation. The Russian Caviar divertissement had Isaac Aoki, Steven Houser and Nicholas Schultz exploding across the stage with powerful leaps as the audience clapped along to the Trepak rhythm.
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Grand Rapids Ballet’s new production, as likely as not, will have its naysayers.
A prologue that has Drosselmeier, portrayed magnetically by Attila Mosolygo, planning Christmas surprises for his godchildren, as well as an epilogue that returns Clara to her home, safe and sound, are entirely new to DeVos Hall.
The enormous Mother Ginger is no more, though her masked Harlequin children still appear in the show. Overall, there are fewer students and children on stage.
But the new version of “The Nutcracker,” which the company plans to tour in future years, surely will elevate Grand Rapids Ballet’s reputation as a professional troupe of consequence while entertaining a new generation at the holidays with the magic of dance.