Philadelphia Ballet’s Nutcracker Review
November 29, 2024 | Kennedy Center – Washington, D.C., USA
“Here we do Nutcracker right,” George Balanchine used to say referring to his production of the beloved Christmas classic, which he staged 70 years ago for New York City Ballet.
It’s hard to imagine, but before that time, The Nutcracker was rarely performed in the United States. In 1954, when Balanchine created his production for NYCB, the company was struggling financially and desperately “needed a rouser.” Morton Baum, then-president of City Center, said to Balanchine:
“George, do Nutcracker.”
So The Nutcracker, in Balanchine’s capable hands, was reincarnated in this country not only as dazzling holiday entertainment but also as a money-maker.
Over the past 70 years, The Nutcracker has become synonymous with Christmas – a traditional seasonal offering for many American ballet companies and often their financial guardian angel.
Philadelphia Ballet's Nutcracker Review
Just in time for the Thanksgiving holidays, Philadelphia Ballet (formerly Pennsylvania Ballet) brought their production of Balanchine’s Nutcracker to the Kennedy Center Opera House for a seven-performance run. This spectacular Nutcracker showcased time and again Balanchine’s choreographic genius and his mastery of storytelling.
There was so much to admire in Philadelphia Ballet’s version of this beloved ballet: from the sumptuous stage décor by Peter Horne and a lavish wardrobe of nearly 200 costumes fashioned by Judanna Lynn, to an excellent performance by the entire cast.
Joy and excitement sparkled at the Stahlbaums’ traditional Christmas Eve Party. Little Marie received a wooden nutcracker as a gift and the magical events began happening one after another.
The Christmas tree grew to the ceiling; a battalion of armored mice invaded the house; the nutcracker doll came to life and fought with the Mouse King; the snowflakes transformed into enchanting ballerinas; and the Sugarplum Fairy invited Marie and her Nutcracker Prince to be the guests of honor at the grand celebration in the Land of Sweets.
The presence of children made this production even more delightful and fun to watch. The audience could feel the young dancers’ unbound happiness and sheer thrill to be performing onstage.
On Friday matinee, the entire cast of children deserved special praise for their refined and dedicated performances.
The outstanding Melaniya Ramsay as Marie was full of energy, confidence, and spontaneity: watching her skipping and running onstage, one could sense her heroine’s fearlessness and uninhibited curiosity. At the same time she was utterly graceful and charming as the Little Princess in the second act.
Her boisterous brother Fritz, as portrayed by Averi Breen, was appropriately mischievous and annoying, often claiming the spotlight with his amusingly disruptive behavior.
Cyair Stephens was perfect in the triple role of the Drosselmeier’s nephew, the Nutcracker and the Little Prince.
The dancers of Philadelphia Ballet shone in their roles as well.
Sterling Baca’s Drosselmeier, an eccentric magician who orchestrates the action around him and whose gift of a nutcracker sets in motion the dreams and fantasies of the little Marie, was fittingly peculiar and enigmatic.
The eloquent Lucia Erickson in the role of Dewdrop exhibited impressive pointework and an enchanting personality. She performed her technically demanding solo with dynamic vigor and admirable flourish; her lively dancing created a striking effect against the soft and spacious swirl of the corps de ballet.
The Candy Canes hoop solo, which Balanchine himself performed as a young dancer in 1922 at the Mariinsky Theater, was danced by Jack Sprance with impressive precision and aplomb.
The performance of Yuka Iseda as the Sugarplum Fairy was full of radiance and warmth.
As her cavalier, Ashton Roxander made a generous and attentive partner. With poise and grace, he presented his ballerina in the best possible way in the grand pas de deux. In his solo variation, his dancing was expansive and technically sharp. He particularly excelled in a series of breathtaking jetés, as he covered the stage as if flying through space, with ease and formidable speed.
The well-rehearsed female corps de ballet danced with notable unity, dazzle and stylistic fineness, highlighting the festive vitality of the Waltz of the Snowflakes at the end of the first act and the Waltz of the Flowers in the second act.
This was a truly memorable performance. Even though The Nutcracker more than anything else is the children’s story – a little girl’s dream of Christmas, in which presents come to life and incredible adventures ensue – Balanchine’s masterpiece still has the power to bring joy and provide entertainment for audiences of all ages.
Featured Photo of Artists of Philadelphia Ballet in George Balanchine’s The Nutcracker. Photo by Alexander Iziliaev.
