A Radiant Stability
New York City Ballet
“The Nutcracker”
New York State Theater
New York, NY
December 11, 2007
Fortunately, there is nothing new to report about the NYCB production of “The Nutcracker”. It continues weaving its magic, unexaggerated and unchanged, its glorious details intact. The first act is full of bright activity, the children are well-rehearsed, and the adults generously stay out of the spotlight. It is a true ensemble work, but there were some standouts. In the brief solos, Likolani Brown, as the Harlequin danced with a lyrical purity, and Vincent Paradiso, as the soldier, made the most of his brief virtuosic turns. The Drosselmeier, Andre Kramarevsky, had a light touch, gently eccentric rather than ominous. His mime scene was especially impressive, as his eloquent arms and magical hands set the scene for the magical Christmas tree. Marie, Margot Pitts, also gave a fine performance, with no hint of cuteness. She was a rather solemn child and a true stage presence, with a remarkable ability to convey both wonder and imagination.
The only slightly discordant note were the Grandparents, since the production uses young dancers with obviously fake wigs, who tend to suffer from doddery old codger syndrome. The rest of the act is so gently realistic, this bit of slapstick sticks out.
There had been, in earlier years, to juice up the Mother Ginger role with some gratuitous scene-stealing gestures, as well, but thankfully Adrian Danchig-Waring avoided that, and was quite a lady, focusing on his charges. “The Nutcracker” is basically dancer-proof, with the stars appearing for only a brief time, but Wendy Whelan, in Sugarplum’s solo, gave a limpid, generous, and musical performance. She has developed into a performer with a unique iridescence.
The various character dances went their colorful way, with Daniel Ulbricht’s springing Tea bringing down the house. Kathryn Morgan was an especially lyrical Marzipan Shepherdess, with a beautiful jump. Unfortunately, someone set off an exit alarm during her dance, and the rest of the act was interrupted by strident honking interspersed with crying babies, which did reduce the magic. But even this irritating distraction did not seem to throw the dancers, who gave a thoroughly professional performance. Abi Stafford’s Dewdrop was technically assured and beautifully shaped and the Cavalier of Damian Woetzel reminded the audience yet again that a real solo would be a welcome present. But the point of “The Nutcracker” isn’t really the dancing, it is the creation of childhood innocence, without whimsy or condescension, something that so few artists can do.
Copyright 2007 by Mary Cargill
