Christmas tradition is valued deeply in New England, and it is only fitting that the region’s penultimate production of The Nutcracker be an utterly classic experience. For those who want pure dancing, glamour and no theatrical expense spared, the Opera House is decidedly the place to go. Boston Ballet's current production, with choreography by Mikko Nissinen and set and costume design by Robert Perdziola, premiered in 2012. This particular performance was made especially enjoyable by an extraordinary principal cast.
Act 1 is decidedly subtle, in muted Regency tones. The Nutcracker can always be enjoyed on multiple levels, but this production in particular provides details that can foster an artistic treasure hunt: the dolls and sweets that decorate the front of Drosselmeyer’s “Children’s Theater” are the same dolls the party scene girls receive as gifts; and these are the same characters that appear in the second act. Clara receives pointe shoes as her initial gift while her friends enjoy their dolls, and later, she inquires as to whether or not she might also receive a doll: resulting in the presentation of the nutcracker. It is these tiny details that allow attentive audience members the chance to find new details upon each annual viewing.
Ani Kassian-Howard was a gentle and studied Clara, rejecting, as do all Boston Ballet Claras, the histrionic dramatics that so often happen – for better or for worse – when students take the role. Neither good nor bad; what it means here is that BB’s Clara is organically immersed into the production, taking her place as a part of the story, rather than its initiator. This certainly contributes to the professionalism of the production – indeed all the children involved were meticulously rehearsed, and even the Battle Scene was both elaborate and tidy. The only weakness in the choreography is seen in the occasionally stilted “reactions” of all dancers, but this may well have been a conscious choice: continuing the productions’ theme of providing a glimpse of a beautiful and faraway world in which things are not quite real, nor would one wish them to be.
As always, the Snow Scene folds the audience in a silvery world of light and purely technical dancing. Rachele Buriassi and Lasha Khozashvili danced the Snow Queen and King - Khozashvili so often takes the role of Drosselmeyer (danced here by Matthew Slattery), that it was a treat to enjoy his work in the cavalier role. Buriassi’s luxurious port de bras were lovely and this was an elegant match. Sweet and lovely, Dawn Atkins danced one Snowflake demi-solo role, the other taken by Emily Entingh. Both of these dancers are scheduled for Dewdrops later in the run, examples of Nissinen’s commitment to providing opportunities to dancers at all ranks. Cherubic Catherine Livingston, a first year member of BB’s second company, stood out as a charming member of the corps.