It was an inspired moment in 1995 when choreographer, Pär Isberg, forged a special relationship between Elsa Beskow’s beloved children’s book and The Nutcracker. The resulting work is making a welcome comeback at the Royal Swedish Opera after a break of a few years and playing to delighted audiences.
Petter and Lotta’s Christmas was published in 1947, a continuation of the stories about three lovable aunts of indeterminate age, Aunt Green, Aunt Brown, Aunt Lavender, and the eccentric Uncle Blue who, in this story, turns out to be a magician. Isberg was allowed to use the story on condition that the stage setting and costumes followed the book illustrations and Bo-Ruben Hedwall’s costumes and Ann-Mari Anttila’s set do this faithfully. The book is a favourite over several generations ensuring childhood memories come to life on stage. Even the little black poodle, Dot, is exactly as in the book down to the green bow on her tail!
Orphaned twins, Petter and Lotta, played with abundant energy and glee by Louise Camelbeke and Frei Ruhl, are experiencing their first Christmas with the unconventional quartet of adults in a Swedish country town. While fantasy, dreams and magic have their place, the lead characters are introduced in a friendly domestic setting. The Prince, Gabriel Jahnke, first appears as the Charcoal Burner who rescues the twins and Uncle Blue lost in the forest, cuts them a Christmas Tree and shows them the way home.
He next appears at the party as a Julbok or Christmas Goat dressed in a cloak and horned mask following an ancient Swedish tradition, where he bangs on the door to ask if there are any good children at home before throwing in a sack of toys. Uncle Blue entertains the party guests with a shadow play of an enchanted prince living as a charcoal burner in the forest and this forms the substance of the children’s dream as Jahnke becomes their Prince. The dream also needs a Princess, and she is the caring Housekeeper, Madeline Woo. She is in the kitchen helping with party preparations when she bravely kills a rat and then makes her appearance again in the dream where, armed with her broom, she kills the fierce King Rat. Their work clothes transform into glistening white costumes, and they do the honours in the grand pas de deux.
This pas de deux is one of Tchaikovsky’s most beautiful with sweeping melodies and carefully structured climaxes and Isberg has done sterling work in creating a more fluid contemporary feel while capturing the high points in dramatic lifts. Woo, a dancer of huge vitality and charm, gave an outstanding performance. The Sugar Plum Fairy solo is re-choreographed but Isberg has included the traditional gargouillades, which suit the delicacy of the orchestration so well while complementing the updated ballet style. Taylor Yanke, who I saw in the afternoon performance, executed this bubbly step with consummate ease in a lovely performance. Jahnke, new to the role shows great promise, a strong technique and, most importantly, a warm, charismatic personality. His classical solo provides the challenges and thrills and as the Julbok, he gets a fiery character solo as well.
The party scene has it’s share of characters as the village folk, the baker, the policeman and all join in the dance interrupted by lively children. Nadja Sellrup, as Aunt Green, Jeannette Wren as Aunt Brown and a slightly flirtatious Aunt Lavender, Desislava Stoeva play highly entertaining hosts led by Oscar Salomonsson as Uncle Blue who maintained a keen focus as he transforms from kindly bumbling Uncle to a sequin-cloaked magician.
Isberg weaves party and dreams seamlessly into Tchaikovsky’s score. The second act divertissement are a delight! National dances, an integral part of the 19th century classics and proving somewhat controversial these days, are neatly sidestepped in favour of Swedish Christmas treats. Tchaikovsky’s Spanish dance gets a spicy interpretation from two Gingerbread Cookies as Nathalie Nordquist and Jonatan Davidson have a friendly battle of one-upmanship. The Christmas Crackers, their inventive costumes adding twirly springs, positively burst with excitement and the team spirit of the Snowmen in cleverly structured choreography, proves that having a carrot for a nose needn’t upset your tours or cartwheels. The typical Swedish pink and white striped candy sticks, polkagrisar, became an acrobatic trio. The sensual Arabian music is ingeniously matched to the three Aunties sleepwalking in nightdresses and caps, often bourrée-ing dangerously near to the orchestra pit before they are redirected by the twins and Uncle Blue.
It is the Mirlitons who get the wittiest make-over as Petter harnesses three Rats with red ribbons to match their red point shoes. With ballerina authority they attack the relevés, bourrée with delicacy (well, almost) and even pinch a trick from Mr. Balanchine’s Apollo as they pose in arabesque then drop to the knee one by one. There is also a hint of Ashton’s Fille with Petter anchoring the ribbons in the centre as the Rats run around on pointe. The large furry rodents are expertly costumed between horror and camp and are utterly delicious. In the roles Lorenzzo Fernandes, Carl Sjögren and Yuki Nukada showed excellent comic skills and in Act 1, accompanied by a host of ratty militants they go into battle to dramatic effect led by King Rat, Daniel Goldsmith.
The ensemble numbers, Waltz of the Flowers and Snowflakes showed the company on good form and orchestra under the baton of Garrett Keast did a sterling job despite a rodent infestation and the danger of falling aunties. This ballet is a Swedish national treasure and always a delight.
