Highbrow
The holidays bring to mind the smell of roasting chestnuts, the taste of warm eggnog, the sight of beautifully wrapped presents, and, that old chestnut, The Nutcracker. In New York, there are a surfeit of Nutcrackers, more than can be found in a macadamia warehouse. But which is right for your taste and budget?Ê
Based on E.T.A. Hoffman's short story, "The Nutcracker and the Mouse King," The Nutcracker premiered at the Maryinsky Theatre in St. Petersburg, Russia in 1892 with a "book" by Marius Petipa and choreography by his assistant, Lev Ivanov.
There was nothing "authentic" about this "traditional" version. Petipa's libretto took many liberties with Hoffman's story, among them the creation of a divertissement in the second act entitled "32 buffoons and Mother Gigogne," and the initial critical reception was actually quite mixed. If many appreciated the lavish decoration and spectacular score, critics also complained of the bizarre structure in which the first act was mostly story with little dancing, and the second, the reverse.
Rather, it was George Balanchine's 1954 production for the New York City Ballet that became the most celebrated and enduring. The fame of Balanchine's Nutcracker is due in part to its live television broadcast on CBS in 1957 and 1958 (featuring Balanchine as Drosselmeyer and a young Eliot Feld as the Prince) and the 1993 movie version (starring Darci Kistler, Damian Woetzel, and Macaulay Culkin as the Prince).
And more than fifty years after its creation, it's still a delight to see. The one-ton Christmas tree grows from twelve to forty feet, the Sugar Plum Fairy glides across the stage in arabesque en pointe, and Karinksa's costumes are exquisite. Then there's the dancing.
The snow scene, for 16 women of the corps de ballet, is performed at lightning speed; Balanchine used swirling patterns to create the illusion of an onstage blizzard. In addition, Balanchine wisely rearranged Tchaikovsky's score to have the second act begin rather than end with a solo for the Sugar Plum Fairy, a concession to the audience, growing restless from watching mischievous children scamper about. And then the divertissements begin: Hot Chocolate with flirtatious kicks; Arabian, strongly sensual; Tea and Candy Cane, with high-flying leaps; Marzipan, with piquantly delicate and precise footwork; Mother Ginger and the Polichinelles, with eight children emerging from under a nine-foot wide skirt; and the Waltz of the Flowers, with kaleidoscopic patterns and a sublime Dewdrop.
The performance culminates with a grand pas de deux for the Sugar Plum Fairy and her Cavalier, filled with thrilling leaps and partnering.
Yet, as majestic as the production is, it can feel less than intimate. The children, who are rehearsed ad infinitum and appear in 45 performances, lose their spontaneity.
A more modest production, The Yorkville Nutcracker may lack Balanchine's theatrical thrill, but it makes up for it in homey charm-and tickets close to the stage are more reasonably priced.
Celebrating its tenth anniversary this year, it's choreographed by Francis Patrelle and set in turn-of-the-century New York with a first act in Gracie Mansion, where Mayor William L. Strong and his wife throw a party for visiting dignitaries. Doubtless, it's the only Nutcracker in which Theodore Roosevelt, New York's Police Commissioner at the time, makes an appearance.
The strongest piece of the Yorkville choreography is the snow scene in Central Park on the frozen reservoir with the Dakota in the background. The dancers, who enter with lanterns, are properly accessorized as skaters with spats and muffs.Ê
Other versions around town include the Dance Conservatory Company's The Nutcracker, the first act of which is choreographed by Margo Sappington. The second act is staged in the traditional Russian manner by Valentina Kozlova, a former principal with NYCB and the Bolshoi Ballet. The production will feature Sappington plus Sasha Dmochowski and Kenneth Easter-both talented members of American Ballet Theatre's corps de ballet. (Yes, major talents can be seen in discount Nutcrackers!)
One especially intriguing modern-day take on the classic is the one conceived by Daniel Catanach, the artistic director of Urban Ballet Theatre. Urban's version is a bit of a Lower East Side Cinderella story. Clara, the heroine, is a poor girl who somehow finds herself on an enchanted adventure into which Catanach incorporates flamenco, salsa, hip-hop, even snake-charming and sword fighting. The production features Danny Tidwell, a promising member of Complexions, and Glenn Allen Smith from Ailey.
New York Theatre Ballet's The Nutcracker is a one-hour production designed for children and based on lithographs from the English Toy Theatre of the early nineteenth century. Given its brevity, it's likely the ideal for very young tykes. George Balanchine's The Nutcracker, New York City Ballet, The New York State Theater, Lincoln Center Plaza (at Columbus Ave. & W. 63rd St.), 212-870-5570; Fri., November 25-Fri., December 30, $15-$99.
The Yorkville Nutcracker, The Sylvia and Danny Kaye Playhouse, Hunter College E. 68th St. (btwn. Park & Lexington Aves.), 212-772-4448; Fri., December 9-Sun., December 11, $45.
Dance Conservatory Company's The Nutcracker, Symphony Space, 2537 Broadway (at W. 95th St.), 212-854-5400; Fri., December 2nd-Sat., December 3rd, $15-$25.
Urban Ballet's Nutcracker in the Lower, Abrons Arts Center, Henry Street Settlement, Harry De Jur Playhouse, 466 Grand St., 212-352-3101, Sat., November 26th-Sat., December 3rd, $10-$15.
New York Theatre Ballet's The Nutcracker, Florence Gould Hall (55 East 59th St.), 212-355-6160; Sat., December 3rd-Sun., December 18th, $25-$30.