"The Nutcracker" of Joffrey Ballet Chicago, Washington Ballet, New York City Ballet et al.
by George Jackson
copyright 2008 by George Jackson
E.T.A. Hoffmann might or might not have been horrified to see how sentimentalized his story of "Nutcracker and Mouseking" has become in the world of ballet. Never mind that Hoffmann's Stahlbaum family hadn't just two children but three - the 7 year old Marie, the slightly older Fritz and the almost grown up Luise - or that the name of Clara belonged to Marie's doll whose bed is lent to the injured Nutcracker. In the penultimate sentence of the tale Hoffmann alludes to "wondrous things that can be seen if one has the eyes for it". That holds for productions of "The Nutcracker" ballet, big and small. This year I saw 7 performances.
Joffrey's "Nutcracker" (Opera House, Kennedy Center, DC; December 11, 2008) featured distinctive dancers. Foremost in my eyes was John Mark Giragosian as Snow Prince. He's lightboned, pliable and able to become charged with energy or to discharge instantaneously. Giragosian reminded me of Vienna's and ABT's Daniil Simkin, but isn't as extreme. Moreover, he seems a worthy heir to Calvin Kitten in the snowland choreography by the company's late director, Gerald Arpino. In the party scene as brother Fritz, Giragosian overdid the boyishness. Kitten, as the Tea man from China, showed that he still has an impressive jump. Notable too were Megan Quiroz's supple acrobatics as the Coffee from Arabia lady, Valerie Robin's attack and balance as Spanish Chocolate and Victoria Jaiani's turns as Sugarplum Fairy. Fabrice Calmels, the Nutcracker Prince and Jaiani's partner, is heroically tall but not in full control of his body's territory. The role of Drosselmeyer in this production involves much scattering of glitter and confetti, yet the mystery and magic which Alexander Grant brought to it once upon a time eluded Brian McSween. Where the Joffrey's new director, Ashley Wheater, will lead the company it is too soon to say, but Wheater seems to like dancers with striking traits.
Highlights in Septime Webre's Americana "Nutcracker" for Washington Ballet (Warner Theater, DC; December 16) were young Norton Fantinel's Frontiersman, and Sona Kharatian and Jared Nelson as the Anacostia Indians.Fantinel is acquiring the smooth drive and classical phrasing of company virtuoso Jonathan Jordan, who has been coaching him. Jordan himself was enjoying a night off. Kharatian and Nelson had fun with Webre's sexy American native couple and with great aplomb pulled off the finale - a tricky catch.
Among the debuts and post-debuts in Balanchine's "Nutcracker" at New York City Ballet after Christmas (Koch/ex-NY State Theater at Lincoln Center, NYC) it was the sparkle of Erica Pereira's Dewdrop that caught my eye (December 27, 2008 matinee). Pereira has velocity with a light touch and combines it with clarity. Adrian Danchig-Waring, as Sugarplum's Cavalier (December 26 matinee) is a partner whose attention and nobility enhance his ballerina's importance. Robert LaFosse's Drosselmeier (spelled as in Hoffmann's text) wasn't (December 27 matinee) as over the top as in the past. A true character emerges.The little girls in the party scene have, over the years, become almost as boisterous as the boys. Still, this "Nutcracker" has wonderful snow choreography and was the most nuanced and true to tradition among the productions I saw this year - which also included Olney Ballet Theatre's (in Maryland), the Kirov Academy's (in DC) and the telecast by San Francisco Ballet.
