Los Angeles Ballet’s annual production of “The Nutcracker” at the Dolby Theatre has the makings of an LA tradition. Aside from being a holiday staple ballet, the venue allows for the Los Angeles Ballet Orchestra to play alongside the dancers and is perfectly centralized in LA, welcoming large crowds throughout its 13-performance run.
Every “Nutcracker” production has its highlight moment, often going to the pas de deux between Marie and the Prince. This time around, it goes to the mice and the playfulness they bring to the entire performance. Throughout, an extra level of silliness was injected into the characters on stage. The lighthearted energy can be attributed to LAB’s dedication to consistently featuring child dancers on stage. In fact, they were on stage during the Arabian duet, which is traditionally performed with only the primary couple. The joyous energy the children brought allowed for the bright and goofy moments of “The Nutcracker” to bloom. However, it left the rich and grand moments that contain levels of earnestness to lose weight.
LA Ballet – “The Nutcracker” Waltz of the Flowers – Photo by Cheryl Mann Productions.
The opening scenes at the party were appropriately grandiose. Here is where the playfulness begins. The set designed by Catherine Kanner seamlessly cuts through the layers of the party, guiding people into the home. The maids (Lilly Olvera and Chloe Oronoz) and butlers (Dallas Finley and Bryce Broedell) tease the guests with their platters of drinks, dodging them for some fun of their own. Short scenes amongst partygoers take place in the background as the story of “The Nutcracker” unfolds. Uncle Drosselmeyer (Evan Swenson) stands out from the crowd with his elaborate entrance and comedic movement. He isn’t particularly dancing through most of Act I, but his physical comedy is at its peak as he weaves through the party with presents.
The mice (Finley, Felipe Zapiola, Rony Baseman, Leya Graham, Nick Sedano, Sherwood Sheen, Olivia Flanyak and Holly Bratkovich) usher in a new level of absurdity for “The Nutcracker.” The dream sequence has always been absurd, but with some extra oomph and modern-day cultural movement, the mice push the envelope even further. As the clock strikes midnight, the mice pose with each ding. With the influence of social media trends, the sequence has gotten sassier over the years. For this production, one mouse flexes its muscles while another goes into the splits and offers a subtle twerk. It feels as if “The Nutcracker” isn’t complete without this breaking of the fourth wall, transporting the world of the show into today’s cultural zeitgeist. The magic continues into the battle between mice and nutcracker soldiers. It gets hilariously rambunctious, so much so that one mouse’s head falls off the dancer. When the Mouse King (Bryce Broedell) falls to his death, he whips out one last silly trick by voguing all the way to the ground. The commitment to going all out in Clara’s (Natalia Burns) dream makes the production one to remember.
LA Ballet “The Nutcracker” – Marie and The Prince – Photo by Cheryl Mann Productions.
In the transition to Act II, the heightened silliness washes away. Although the following performances are just as joyous, the approach is more serious, giving the remainder of the show a rather dull tone compared to its big entrance. The dancing within the palace is spectacular, sharp and technically sound, but the energy has shifted. The Arabian duet with Julianne Kinasiewicz and Adrian Blake-Mitchell is strong and mesmerizing in its athleticism. The Spanish section with Paige Wilkey, Lilly Fife, Sedano and Broedell is tightly woven. Meanwhile, the Russian dolls (Theo Swank and Rony Baseman) lack strength in their performance, stumbling through the movements and losing the tableaus that make the section a mysterious feat of jumps. Even Marie (Sarah-Ashley Chicola) and The Prince (Evan Gorbell) fall flat on their performance of the big pas de deux. They hit the marks, but it lacks the vivaciousness that Act I solidified for the production. The various sections of the palace offered a mixed bag of approaches, resulting in a feeling of fragmented satisfaction.
LA Ballet “The Nutcracker” – Harlequin and Columbine – Photo by Cheryl Mann Productions.
The missing ingredient is revived by Rose (Kate Inoue). Inoue has a deep connection with the choreography. She isn’t simply hitting the mark but telling a story with it. She finds meaning in the transitions. She stretches each step and extension, meeting their full potential. Her performance is breathtaking. Although it may not be as silly as the mice, she manages to adopt their fire in the form of more structural movement.
As Clara returns to reality, the magic of serendipity closes the show. The palace dolls provide their final goodbyes to Clara in the form of revisited choreography. They flow off the stage. The remaining character, Baby Mouse (Celeste John), strolls by on a tricycle. She does a few laps around Clara and waves to the audience. It’s cute. She rides off, and a speck of snow from the big snowflake section at the end of Act I (which lacked the sharp formations required of an ensemble number) falls from the sky. It’s happenstance, but it works. It’s the last echo of her dream fluttering into the space before she wakes up in her bed.
Despite the occasional lull in Act II, LAB’s production of “The Nutcracker” proves that the right amount of commitment and playfulness can give an annual tradition a fresh take.
To learn more about the Los Angeles Ballet, please visit their website.
Written by Steven Vargas for LA Dance Chronicle.
Featured image: Los Angeles Ballet “The Nutcracker” – Snow – Photo by Cheryl Mann Productions.
