James Kudelka's beloved Nutcracker for the National Ballet of Canada remains what it has always been: a potent mix of dance, colour, theatricality, character, spectacle, comedy, and that mysterious alchemy -- or magic if you prefer -- that renders the whole much greater than the mere sum of its parts.
It would be difficult to imagine an entertainment more ideally suited to the wide age range, and ballet knowledge, of the audience. It's a true "something for everyone" show.
Of course, the success of this production rests on two very firm foundations. The first is the lush, richly-orchestrated score composed by Tchaikovsky. Proof positive that creative artists are not the best critics of their own work is found in the fact that the composer felt he had gone completely off the boil with this one, and was just churning out mediocre stuff.
Well, Tchaikovsky certainly was prone to lengthy bouts of self-doubt and the misery it brings, but he couldn't have been more wrong about the music for Nutcracker. The great glory of this production definitely begins with the splendid sound of the National Ballet's house orchestra in this beloved music. From the sweeping string legatos in the snow scene and the grand pas de deux to the crisply chattering woodwinds in the divertissement, or the rich horn chording in the Christmas tree sequence, the musicians were on peak form throughout -- no mean achievement as they near the end of a run of nearly 30 performances spread over just 23 days.
The polish and execution of the dancers on stage is equally remarkable, given the length of the run, and the physical demands of so many performances -- often 2 per day for several days per week. Nutcracker demonstrates in spades the depth of the company, with the five main roles distributed across a total of 26 dancers over the course of the run.
Although I bought my ticket months before any casting was announced, I got lucky and managed for once to see an entire cast of principals in roles where I had not previously seen them perform. One of those was actually making a role debut this year.
And that's where I want to begin: with Jack Bertinshaw who appeared this year for the first time in the dual role of Peter, the stable boy who magically transforms into the Nutcracker Prince. In what is, let's face it, a pretty slender storyline, this is one character who goes on a journey through multiple moods and emotions. Technically, Bertinshaw's performance was impressive, from the dextrous folk-inspired choreography of the first scene to the soaring leaps in the grand pas de deux. I liked the joyfulness of his work in the opening scene, too, and the heart-warming sense of love which he brought to his moments with the children after his transformation. It will be interesting to watch him grow into this role, and see his handling of the relationship with the Sugar Plum Fairy in Act II develop more resonance over time.
Calley Skalnik performed the role of the Sugar Plum Fairy with a genuine sense of open-hearted welcome, and was technically impressive during her first solo for the lightness of foot which gave the impression that she might be gliding on air just a centimetre above the floor. Her variation in the pas de deux was striking, too, for the crisp precision of her footwork.
Together, this pair created genuine magic and emotion in their magnificent pas de deux, the emotional climax of the show.
Donald Thom gave a more light-hearted, playful performance of the magician Uncle Nikolai than I have seen from some others, and that brilliance definitely bubbled over in the hilarious duet with the horse. By way of contrast, he transitioned to a grander, more ceremonial presence as the Grand Duke Nikolai in Act II, differentiating the two characters more than other dancers have done.
Andreea Olteanu gave a vigorous performance as Baba, the nurse -- her dance with Peter a whirlwind of flying feet and skirts.
Alexandra MacDonald gave a regal, yet still light and airy performance as the Snow Queen, matched well by Ben Rudisin and Brendan Saye as her two Icicles. Between the soaring music, one of Tchaikovsky's finest adagios, and the exquisite choreography lavished by James Kudelka on this unique pas de trois, this number always ranks as one of the most memorable moments of the performance.
Jordana Daumec gave a scintillating account of the virtuoso solo for a Bee, announcing the coming of spring, her intricate footwork a complete delight.
Even where the programme doesn't distinguish on the basis of who-dances-what-when, the smaller parts were all cast from strength, and beautifully danced too -- think of the vigour of the Spanish chocolate dance, the ineffable grace and poise of the Arabian coffee (another unique and gorgeous Kudelka inspiration), or the rumbustious waiters' dance with its numerous cartwheels across the dinner table.
The corps de ballet were, as ever, in splendid form in their major numbers, the glorious waltzes -- Snowflakes in Act I and Flowers (with Branches) in Act II. The Waltz of the Snowflakes, a classic "white scene," puts significant demands on the corps for unity of mood, even as different groups of dancers glide hither and yon, at top speed, and apparently on collision course. The performance on this occasion sparkled even more than the costumes.
I may only get back to it every 2 or 3 years, but this Nutcracker is endlessly rewarding and always reveals new aspects of itself every time I see it.
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