34 Times and Still a Good Nut to Crack: The Nutcracker review

One of the premier dance companies of the nation, the Boston Ballet nevertheless suffers from a preponderance of style over substance, evident in its most recent lavish dance spectacles. In the 1998 season, audiences were treated to a special-effects laden production of Dracula, followed by this year's equally extravagant The Princess and the Pea. The Nutcracker, now in its 34th annual rendition, is no exception to this bigger and better mentality. Boasting oversized sets and props, more than a ton of white confetti and a cast of over 400, "lavish" would be an understatement.

Yet, skepticism aside, it is perhaps the most utterly splendid spectacle of the holiday season. More than a showcase for dancing, The Nutcracker is a sensory experience--from scenery to costumes to the memorable Tchaikovsky score. And the Boston Ballet production (with a first act that was entirely revamped last year) succeeds admirably in realizing a beautiful overall effect guaranteed to convert even the most cynical grinch to the holiday spirit.

As the curtain rises, audience members in the front section of the orchestra seats are immersed in pale blue light while characters race up the aisle before mounting the stage. Amidst the ensuing Christmas party and magic show, Dr. Drosselmeyer (Lazlo Bardo), the eccentric godfather of Clara, dominates the first scene. If his distinctive air and cute magic tricks fail to dazzle, then his huge velvet cape undoubtedly will. Whether twirling or flying off after Clara and her prince to the Enchanted Forest, this cape has a life of its own. The other most prominent character is, of course, Clara (Janine Ronayne), the imaginative little heroine who dreams her Nutcracker is a Prince with whom she embarks on a fantastic adventure to the Enchanted Forest and the Palace of Sweets. Not only is this Clara a vivacious young actress, she also turns in a memorable and mature dance performance.

The same can be said for the young Nutcracker Prince (Mikhail Ilyin), a regular cavalier endowed with a childlike innocence.

Adding to the evening's overall dazzling effect are the costumes produced by designer David Walker. Whether outfitting a corps of ballerinas or of mice, his costumes are spectacular. Particularly amusing is Mother Ginger (Tony Collins) in his last transvestite performance after 34 years as the massive lady with eight children tucked away under her skirt. And the four children dressed as marzipan sheep are just cute enough to elicit some gasps otherwise forbidden in the restrained world of ballet audience protocol.

Having said this, however, it is a pity that the dancing does not always live up to the enchanting effect produced by the scenery, lighting and costumes. Luckily, dancing alone is not the focal point of this classic holiday performance. It is a long ballet, longer than most at two hours, and includes a continuous change of scenery and characters, posing a particularly difficult feat for choreographers. Also, a large part of the action relies on children, who despite their training at the Boston Ballet School, inevitably lack the precision that comes with years of training. Perhaps a reflection of the collaborative efforts of multiple choreographers (Anna-Marie Holmes, Bruce Marks, Sydney Leonard and Daniel Pelzig) rather than of one person's vision, the many dances sometimes appear disjointed. Certain scenes in Act II could definitely profit from some alterations. The dance of the Russian soldiers in scene six, accompanied by possibly the most rousing segment of Tchaikovsky's score, fails to project the same enthusiasm present in the music. Equally anti-climactic is the Arabian Coffee dance in scene three.

However, brilliant dancing and choreography does shine through in several instances. Most notable were the two principal couples: the Snow Queen and King (Pollyana Ribeiro and Alex Lapshin) and the Sugerplum Fairy and Cavalier (Larissa Ponomerenko and Giuseppe Picone) in their grand pas de deux. Overall the corps de ballet performed well, although the snowflakes in Act I lacked the precision of the lovely Act II flowers.

Regular patrons of The Nutcracker will discover few changes since last year. Company officials are billing this 34th production as an "enhanced performance," with ten foot Nutcracker sentries greeting the audience as they enter the theater, costumed characters mingling with the audience, free memento buttons and more flameproof white confetti for the snow scene in the Enchanted Forest. However, I noticed none of these "enhancing" touches except for those taking place on the stage. The illusion produced by the fake snow in the Enchanted Forest Scene is truly memorable, while equally impressive are the growing Christmas Tree and Sugar Plum Theater.

In the words of artistic director Anna-Marie Holmes, "The Nutcracker is a staple of American ballet companies and...an ideal introduction to the magic of theater, music, costumes, scenery, lighting and dance." And I agree. Prepare yourself for a stunning visual experience, and of course, happy holidays.