In December, most people worry about Christmas shopping and maybe dread getting gifts for their office Secret Santa. For dancers, they load up on their vitamins and power bars, as the time period between Thanksgiving and Christmas is their busiest, most punishing time of year. Ballet companies around the world usually schedule a Nutcracker marathon around this time. Nutcracker sells no matter what, and companies charge an arm and a leg for tickets. Companies rely on Nutcracker sales to fund their more, ahem, artistic projects. New York City Ballet puts on a stunning 46 performances of George Balanchine’s Nutcracker every year, and nearly every performance sells out.
But performances like last night’s (press night for critics) were a poignant reminder of just how much hard work it is for dancers. There were three big falls, and several stumbles and slips. One of the falls was a little child (the young SAB dancer playing Fritz fell while twirling the Nutcracker and breaking it). All of the dancers bounced up immediately, utterly professional.
For those who follow the company closely, Nutcracker is also an opportunity to see the newest apprentices, who tend to get thrown into the Snow scene. In former soloist Kathryn Morgan’s YouTube channel, she revealed that apprentices in the Snow scene have to dance every performance of Nutcracker. Last night I saw Kylie Williams, who had made such an impression during the SAB Workshop, bourrée onto the stage as a Snowflake. It is a true rite of passage.
The performance also highlighted why Balanchine’s Nutcracker is 70 years old, but still so timeless and ageless. It has something for everyone, from the tiniest tots in the audience to the most grizzled, hardcore balletomanes. The choreography for the many children is so age appropriate. Balanchine never pushed them to do anything that children of that age can’t do, but at the same time they are never cute props. Their dancing always has a purpose.
Tiler Peck was the Sugarplum Fairy, and I have actually seen Peck in this role for years. Prior to last night, I never thought she was a natural Sugarplum. She is hands down the greatest Dewdrop I’ve ever seen. Her whizzing off-balance turns dazzle no matter how many times I’ve seen her do it. With Sugarplum, she can dance the steps with more precision than anyone else in the company, but the charm and mystery of the role come less naturally to her. Earlier this season, I saw Emilie Gerrity, who lacked Peck’s laser technique, but was exactly the kind of warm, benevolent fairy that every child wants to meet in the Kingdom of the Sweets.
It didn’t help that prior to last night, I had also only seen her dance this with Tyler Angle. The vibe between them is cordial and professional. Not much magic or chemistry. Last night, she danced with her fiancé Roman Mejia, and the atmosphere was electric. Both of them seemed to be improvising as they went on. Mejia added a few extra leaps. Peck held her final balance for an eternity, and added some fancy port de bras in the pirouettes in the coda. They were having fun, and it showed. Spectacular performance.
Ashley Hod was the Dewdrop and she was also spectacular. There are basically two ways of dancing Dewdrop. The smaller, quicker dancers emphasize the fast turns and petit allegro of the steps. Earlier this season, I saw Emma von Enck, who was a wonderful small Dewdrop. The taller dancers are statelier and emphasize the role’s big jumps. Ashley Hod is a tall dancer, but managed to mix both the small and tall approaches. She has a huge, space-devouring jump, but she also excels at all that tricky footwork and turning. Her dancing has the grandeur that rides the waves of the music and the lightness to match the ¾ time waltz. Hod has had a number of injuries the past few years, it is so great having her back.
Other noteworthy performances: Lauren Collett was sweet and precise as Marzipan (and performed the difficult gargouillades well); Emily Kikta revived her classic Coffee; Samuel Melnikov hammed it up as the Mouse King; Robert LaFosse’s well-loved Drosselmeier is practically a holiday staple now.
But the best performances of Balanchine’s Nutcracker are always the SAB children. Year after year, they capture not just the steps but the emotions behind Nutcracker: the wonder of Christmas, the happiness of family and friends and gifts and sweets. If they don’t believe, we don’t believe. Last night, when the wonderful Nutcracker Prince Finlay McCurdy-Van Alstine tore off his costume and came to the lip of the stage to bow and tendu, I got a lump in my throat. He made me believe in Christmas all over again.
(external link) Kathryn Morgan explains about the snow scene
