All’s Well That Ends…
San Francisco Ballet
“Nutcracker”
San Francisco War Memorial Opera House
San Francisco, CA
December 22, 2021
Even if you are not that interested in Ballet, chances are you have seen “Nutcracker” at least once as a child, during an elementary school class visit, or even on a date, I have been told that those are popular as safe and pleasant. But then are those of us who go year for year, sometimes wondering whether it is really worthwhile one more time. Usually, I succumb because there is always something fresh to discover if only a surprising casting. Though partially driven by professional responsibility, I have yet to regret this yearly ritual.
Covid necessitated a major change from the usual Opening Night performance. An afternoon schedule I knew would include a large number of dressed up children–-and were they ever, from a cowgirl outfit to bouffon skirts and mother/daughter outfits–-who might not be quite attuned to Opera House protocol. That was the afternoon’s first surprise. These potential audiences were immaculately behaved even if one of them eventually pulled up her knees and embraced them, hardly knowing what she was doing. My granddaughter, that was.
The biggest surprise was seeing how splendid and solid San Francisco Ballet is. This matinee performance might have been called a second cast but sometimes it was difficult to tell, primarily because Helgi Tomasson’s 2004 choreography has not aged. It is still solid, musical with fresh ideas in the way he moved this fairytale into an elegant Edwardian household in San Francisco and outside spaces during the 1915 Panama Exhibition. During the overture the street in front of Drosselmeyer’s store in a row of Victioriana has its own story. Charming interactions between all kinds of San Framciscans, including a spoiled girl, two nuns, a flower vendor and delivery boys, recall a busy city during the holidays. These sketches are short, carefully timed, and suggest a contrast to the splendor and warmth of the Stahlbaum’s holiday party.
Few Principals were cast in this performance.; most notable among them was SFB’s new Principal Nikisha Fogo as the Sugar Plum Fairy-–long-limbed, secure but not particularly warm. Principal Estaban Hernandez is a fierce and athletic dancer; his Nutcracker Prince was charming and lean. However, in the Grand Pas de Deux with Julia Rowe, he didn’t yet fill a princely part, particularly in the many lifts. Rowe danced exquisitely, in total command with port de bras floating over whipping turns, stretching into precarious balances and the multiple arabesques. Strength and frailty combined. Both dancers are of medium height, I would love to see them be paired again.Tiit Helimets, SFB’s elegant prince, has become an equally elegant Drosselmeyer–-mysterious, gentlemanly with arms like wings, observing everything and, ultimately, the superb Master of Ceremonies who controls every one and all.
“Nutcracker” has parts for the whole “dance family.” Joseph Warton made his mark as the lead Russian dancer with Brodie Doenougher and John-Paul Simoense his companions. Swane Mesaoudi’s Arabian exuded a darky sultriness but I wondered whether her porteurs were aware of what they carried. Norika Matsuyama and Hansuke Yamamoto complemented each with impressive ease as they flew and sailed through the biggest snowstorm that this city is ever likely to experience. The Lion Dance with students from the Schools chased Stevne Morse’s impressive split in the air solo. I missed the tiny tots awakening in the Hall of Flowers at the beginning of the second act and the Buffoon’’s inability to crawl back into the voluminous skirts of Madame Du Cirque. Covid restricted participation of small children, but the party looked well rehearsed, fine with Kendall Foley’s Clara and her lanky brother Calder Owen Feinstein
Still another surprise was the San Francisco Ballet Orchestra, with Martin West on the podium. They made Tchaikovsky’s score sound brand new.. It is almost a truism that this is an excellent “band” but the music here sounded so alive, so fresh as if it were traveling through a different atmosphere out towards us. The different colors of the celesta and the harp at the beginning of the second act fused as if by magic. I don’t think I have ever heard a standing ovation for the musicians during the intermission. But well deserved it was.
SFB comported itself nobly; There may have been periodic slips–off balances, or flopped landing but they just reminded us that dance is a live art, practiced by highly trained artists who are always working to improve themselves. I surprised myself by appreciating small imperfections, these not-quite-there moments because they reminded me that dance is a liv e art. And it’s alive when it is performed live. Something to be grateful for at the end of this year.
copyright © 2021-2022 by Rita Felciano
