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Nostalgia is the main event in most Nutcrackers. The libretto came from the novella by E. And so the child-centric ballet faded from the repertoire. These versions referenced Victoriana or German volk and its concomitant bourgeois charms. In Act I everyone behaves beautifully.
Consequently, the social interactions between the party guests and the perfectly dressed children have always looked stilted. We live in a culture which championed Doctor Spock. They are as familiar to us as the Big Mac is to many of our mouths.
After 19 years in repertoire, it has never looked better. It is pitch perfect in its nostalgic waxing for—and satirizing of—suburbia, the sexual revolution, the Twist and the Hustle. The Victorian waltz is nowhere to be found. American nostalgia, Morris brilliantly shows, has little to do with Europe or Russia. Kraig Patterson plays this role brilliantly. Auntie Maim in black pointe shoes?
In the beginning of the Act II, the male-female ensemble leaps into the air as the cymbals crash. They are Snow.
They sport headgear deed by Martin Pakledinaz that renders them into Dairy Queen soft serve cones. Every one is in a tutu. From their hands they throw flakes of powder. As their leaping increases, the snow sprays resemble fireworks bursting in air.
In the magic kingdom of Act II, Burns created four gigantic portals, each one slighter smaller than the next, to frame the dance action on stage. When the giant Christmas tree appears, it moves into the space like a docking Art Deco style ocean liner. Act I may look like s suburbia, but Act II definitely references s glamour, a time in American culture where everything sped up, including the dances.
John Heginbotham dances the role of Mrs. In the finale, the heterosexual pas de deux between David Levanthal Nutcracker and Lauren Grant Marie also departs from convention. Other dancers lift them. Not once does Levanthal pick Grant up: ballet;s symbolic act for courtly love.
Instead their love for each other is displayed in the last moments in the most obvious way: They kiss and kiss and kiss. Levanthal and Grant are married.
From my vantage point, they appeared very happily married. The show was striking for two reasons. One, the newest crop of company dancers was featured.
All of these dancers ed the company in the past two years. They are technically brilliant. I look forward to seeing them develop in their roles. The other striking aspect of the show involved watching Vernard J. This year he has come into his own as an expressive, confident, charming, athletic, musical mover. Faison, Gilmore embodied the alternatively loving-fighting suitor with a credibility that made me forget I was watching theater.
There is no greater pleasure than seeing a dancer slowly transform from being proficient to being masterful. Gilmore has made the leap in his year tenure with the company. What a lovely gift for the audience. You can follow any responses to this entry through the RSS 2.
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