“Septime Webre’s The Nutcracker”
The Washington Ballet
THEARC
Washington, DC
November 29, 2007
by George Jackson
(copyright 2007 by George Jackson)
The cultural and social services complex called THEARC is two and a half years old and bustling. People were coming and going when I arrived for this season’s “Nutcracker” opening. As one approaches the building at dusk, the Washington Ballet’s big, brightly lit, glassy studio on the second floor is eye catching. The view from outdoors was one of concentrated activity. On the left side of the room, children surrounded company director Septime Webre. He was showing the boys how to pace their military surprise attack on the girls who would be putting their dolls to bed. On the right, ballet master John Goding was taking Brianne Bland, Laura Urgelles and other dancers through tricky passages from their solos. I watched for quite some time before proceeding to the box office.
Not all of the evening’s people traffic at THEARC was due to dance. Washington Ballet shares this campus with the Corcoran Gallery’s art school, the Levine School of Music and six other public service institutions. They use the handsome complex in Anacostia (the far southeastern part of the city) as an additional site for activities at their principal locations, and the ballet company also previews its regular fare for downtown in THEARC’s theater. Having toured the place and watched classes on previous visits, this time I wanted to see how the theater functions for an actual performance.
Stage dimensions are said to be identical to those of Kennedy Center’s Eisenhower Theater. However, this “medium sized” stage-space serves a much smaller house. Visibility must be excellent from every one of the 365 seats. The lighting equipment is adequate, although undoubtedly less sophisticated than at the Eisenhower. Music for the ballet was recorded (I didn’t see an area large enough for a full orchestra pit between the first row of seats and the lip of the stage).
At this first preview, Webre’s take on “Nutcracker” emerged distinctly. Basically his show aims to entertain through accessible dancing. Its references to Christmas and to American and local history are added - like clove, cinnamon and nutmeg can be - to the brew. Not all of the extra large cast was yet fully comfortable in its assignments. Mime passages, in particular, often seemed perfunctory but most of the dancing was adept. Two men new to Washington Ballet were in key roles. Tamas Krizsa (from Hungary) was raw as the Snow King, both in his solo dancing and partnering (I worried for his elegant Queen, Sona Kharatian). Yet, Krizsa has a feline power and pliancy that are fascinating to watch. Chauncey Parsons, as the Sugar Plum Cavalier, is more polished but somewhat prim in the upper body, like a parson. Exceptions to the meager mime came from the party scene’s Mother figure (Erin Mahoney-Du in a welcome return from maternity leave) and the Butler (Jason Hartley). The best dancing was Jonathan Jordan’s as the Frontiersman (although his variation’s sensational final fillip was a bit abrupt).
“Nutcracker” tickets being much in demand, it was surprising to see that there were empty seats at THEARC, where the price is a bargain compared to downtown. One does, though, need a car to get there easily (parking on site is free). Next, the production moves into the Warner Theater where the music will be live.
