On December 6th, 2024, families, couples, and youngsters assembled at the Pasadena Civic Auditorium for the Los Angeles Ballet’s Nutcracker opening night. Pasadena is lovely during the holidays as the magic of projected snowflakes adorns the streets. The smell of popcorn fills the entrance to the auditorium, and a handsome display of nutcrackers is available for purchase. A vintage curtain features two angels soaring toward a star, concealing the enchanting tale of the Nutcracker that is about to be revealed. This is the same Nutcracker performed for the last 18 years, choreographed by former founders and Artistic Directors Thordal Christensen and Colleen Neary, with set designs by Catherine Kanner. For many people, the Nutcracker is a customary yearly December experience they can enjoy with friends and family. In addition, young, budding ballerinas from local studios wait all year to get a chance to audition for the Los Angeles Ballet’s Nutcracker. Los Angeles’s regional company, the Los Angeles Ballet (LAB), has many promising children’s talents and various company delights in this year’s performance.
LAB’s Snow Ensemble in “Nutcracker” – Photo by Reed Hutchinson.
The opening of Act I is reminiscent of 1920s-styled attire and essence, and the scenery is overly minimalistic, allowing the acting and dancing to be centered upon. Their website states that this Nutcracker’s backdrop idea details a Southern California home vibe, depicting a Hancock Park home, a winter in Big Bear, and a Venice Beach archway with a giant moon overlooking the Pacific Ocean. The “Party scene” is as traditional as it gets with a naughty, fun, and feisty Fritz, who is glowing, played by Peter Gorbis, and a display of children-led activities keeps the audience engaged in the storyline. Clara and Fritz are the first to be introduced before the scrim is lifted and the prolog began. Pretty long, blonde-haired company member Sara-Ashley Chicola was a pleasant Clara; she readily implemented the foundational ballet steps within her moments. The party children, which included Arianna Armillei, Celestia De Castro, Juliette Mungcal, Iyla Raeburn, Carissa Yang, Luca Aguilar, Yse Gazal, Karina Juharyan, and Gracie Sherman, are to be commended for their on-stage acting skills, as their character portrayals were on point and uplifted their scenes.
Seasoned performer Jonathan Sharp embodies a boisterous Uncle Drossyelmeyer. He commands the stage’s attention in an ostentatious fur coat and magically maneuvers his dolls.
Sharp is all over the stage, partnering, lifting, dancing, and acting out during the show. In a hands-on role, Sharp carries the story masterfully and enthusiastically translates his scenes. Drossyelmeyer’s life-sized dolls, Harlequin and Columbine, a duet by Poppy Coleman and Simon Costello, adequately accomplish their section. The battle scene toy soldiers are well-rehearsed and precise, and the scenes come across as toy-like mechanical soldiers. The evening had many laughable, lovable moments by the mice, particularly from the baby mouse played by Ivy Rendon-Gray. The snow scene contained snow princesses, excluding a Queen and King. These capable, effervescent crystals delivered each choreographed formation with maximum effort. The dancers’ continuous grand saut de chats, with port de bras extended to their ears, claimed the theme of the music. There were, however, some misaligned rows and unified jump group sections. As the Nutcracker, Jacob Soltero made a smart transition between doll and prince. He was strict and stiff as the doll and then embraced his position as the prince. Soltero’s performance was clean and engaging; this protagonist suited him well.
Los Angeles Ballet – Children with gingerbread house – Nutcracker – Photo by Cheryl Mann.
Act II, the Land of Sweets, or in this case, a grand home, is the stage for an unconventional second act. Clara’s Marie doll becomes full-scale, and with the customary Sugar Plum Fairy music section, Marie assumes the pas de deux and separate variations with a prince. The second act has a few familiar segments missing or altered, including using the Chinese divertissement as another pas de deux for the first act dolls. You will also not find Mirlitons or French in this version either. The Spanish divertissement is magnificently choreographed with polished partnering sections. Julianne Kinasiewicz, Aviva Gelfer-Mundl, Bryce Broedell, and Sintaroo Akana render two entertaining couples. Aviva Gelfer-Mundl, a homegrown Orange County, California talent, shines beautifully on stage, technically, and in her persona. The Arabian couple, Lilly Fife and Jonas Tutaj are effectively coordinated, and Lilly Fife has an innocent, luminous presence that suits the role. They both easily handle all the lifts, yet Fife could incorporate even more upper-body interchanges and fluidity that are customary for the part. The Russians, performed by Cesar Ramirez Castellano, Marco Biella, and John Dekle, steal the show in particular; Cesar Ramirez Castellano demonstrates an effortless, refined, controlled classical technique that rivets the audience. The principal couple, Kate Inoue as Marie and Marcos Ramirez as her prince, satisfactorily execute the technical requirements. The choreography is not as difficult as in other productions; Inoue and Ramirez make the most of their moments. The Rose danced by Cleo Taneja intertwines within a lovely Waltz of the Flowers ensemble that includes Cassidy Cocke, Natalia Burns, Chloe Oronoz, Paige Wilkey, Sarah Hurty, Taylor Hugens, Isabel Bugacov, Lilly Olvera, Abigail Gross, and Anna Jacobs. Mother Ginger in this production is a picturesque, glimmering siren played by Lilly Leech, who comes out of her chimney-moving gingerbread house. Mother Ginger’s children are called Hansel and Gretel, and they dazzle the audience with their adorable partnership. The cast includes Julia Eastman, Siloe Gazel, Karina Juharyan, Dylan Von Halle, Arianna Armillei, Iyla Raeburn, Gracie Sherman, and Catherine Yang.
The acting and storyline of this Nutcracker are clearly laid out and easy to follow for all ages. Under Artistic Director Melissa Barak’s direction, most of her company choices are relatively new. This organization has room for growth and improvement in many directions, and the California communities want to see LAB succeed as it works through older and newer repertoire. The company performs at several venues across the city later in the year, including the Wallis Annenberg Performing Arts Center in Beverly Hills. The music for this on-stage performance was prerecorded; however, the performances of The Nutcracker at the Dolby Theater are said to feature a live orchestra by the Los Angeles Ballet Orchestra. Please see the information below to catch this nostalgic California Nutcracker this holiday season.
To see the full Los Angeles Ballet’s Nutcracker schedule and to purchase tickets, please visit their website.
Written by Alice Alyse for L.A. Dance Chronicle.
Featured image: Los Angeles Ballet – Nutcracker – Photo by Cheryl Mann.
