For my last Nutcracker viewing of the season, I braced myself for another typical performance of “The Nutcracker.” But what I witnessed from Inland Pacific Ballet’s production on Dec. 21 was something a bit more jovial and surprising.
Families packed Bridges Auditorium on the campus of Pomona College in Claremont. It was the peak of the holiday weekend, and you could feel it in the atmosphere. Kids were dressed as candy characters, mesmerized by the venue. Groups gathered on the lawn for a family photo with presents in hand. The audience brought a frenzied energy as they prepared to see the holiday classic ballet performed with New York City Ballet’s Mira Nadon and Peter Walker as the Sugar Plum Fairy and Cavalier. However, IPB’s production took “The Nutcracker” to another level by being playful, nearly breaking the fourth wall. After being surrounded by “The Nutcracker” for the whole month, this production let loose and brought the audience in for a sillier and approachable production.
Inland Pacific Ballet – “The Nutcracker” – Photo by E.Y. Yanagi.
Brandon J, who plays Drossylmeyer, brings some extra magic to the stage. He sticks out from the rest by bringing an atypical movement style to a “Nutcracker” production. As he presents toys to the kids, he introduces street dance aesthetics to his movement. He stiffens for a dash of popping, doing the robot to bring out a toy. The moment adds a flare of excitement to Act One. His magic also shines. When he brings out the Nutcracker Soldier (Joshua Collins), he flings his cape, and the performer pops out of nowhere. The detail of Drossylmeyer’s magical background is impeccable.
Inland Pacific Ballet – Snow Scene in “The Nutcracker” – Photo by E.Y. Yanagi.
IPB’s production infuses pop culture and street dance even further into characters like the Mouse King, performed by Andrew Tiamzon. In the middle of the battle, the Mouse King shakes his tail and juts out his chest, getting the audience to cheer before his next attack on the Nutcracker Soldier. Before the Mouse King’s death, Tiamzon moonwalks backward before flopping to the ground. The pop culture references come when you least expect it, bringing a sense of comedy to the production. It’s refreshing to see people have fun with their characters. Often, ballet can be considered an unapproachable art form for those who are unfamiliar. But for this family-friendly show that often serves as an introduction to ballet for children and parents alike, IPB reminds viewers that at its core, ballet is about dancing and expressing yourself — and that can be very fun.
Aside from the hilarious theatrics, Enya Wang’s performance as Clara is mesmerizing. She moves with so much intention that her movement doesn’t feel like a dance step, but an organic decision. Her acting is authentic and brings out the best of her performance. Tiamzon, who also plays the Dragon Soloist, moves with incredible control and softness. He nearly floats alongside the dragon maneuvered by Collins as the Dragon Master and Aoife Battles, Sergio Fernández, Liam Johnson, Adin Joseph, Alyssa Morales and Chloe Nicoll in the corps. The Act Two performances tended to lull and lost some of the energy built up from Act One. However, the dragon section stood out, incorporating plenty of spectacle to enthrall the audience.
Inland Pacific Ballet – (L-R) Keira Johnson, Peter Walker, Mira Nadon in “The Nutcracker” – Photo by E.Y. Yanagi.
The pas de deux performed by Walker and Nadon was impeccable. Nadon moves like a sling shot, pushing the limits of a turn or extension before returning to her core and swiftly moving through a new phrase of the duet. Her pauses craft gorgeous tableaus that highlight details in George Balanchine’s choreography, whether it be a bent wrist or an extended leg. Together, the duo is in sync — so much so that their performance leaves you with an image of a unified leap in opposite directions. They are completely symmetrical at that moment, taking your breath away.
IPB’s “The Nutcracker” ends with one last spectacle: a mistake. When Tiamzon returns for the final moments of the production as the Dragon Soloist, his headpiece falls. These moments always fascinate me. How will they recover? Tiamzon continues to dance, picking it up once he returns to the area of the stage where it fell. In a magnificent swoop, he leaps up, arms extended. As he flings one hand, he tosses the headpiece to the wing, turning the mishap into a beautifully improvised moment.
The production was like watching dancers on a playground having fun with the traditional ballet. As one of the last performances of the Christmas season, the unexpected twists and additions brought humanity to the production and invited people in to laugh, gasp and appreciate the joyous side of dance.
To learn more about Inland Pacific Ballet, please visit their website.
Written by Steven Vargas for LA Dance Chronicle.
Featured image: Inland Pacific Ballet – “The Nutcracker” party scene – Photo by E.Y. Yangi.
