On Saturday, December 13, 2025, at 2 p.m., the Segerstrom Center for the Arts was fully dressed for the holidays. Its lush red interior set a festive tone as families arrived, eager for the matinee performance. Audience members enjoyed several pre-show activities, including photo opportunities with a Nutcracker, posing on a sleigh, and browsing the pop-up shop for souvenirs.
American Ballet Theatre (ABT), led by Artistic Director Susan Jaffe, announces its principal dancers in advance, allowing The Nutcracker enthusiasts to select which cast they would like to see for either the matinee or evening performance. One of the most exciting aspects of dancing The Nutcracker as a professional ballet dancer is the opportunity to perform multiple roles throughout the holiday run. For many families, this presents a choice: return year after year to see a favorite cast or experience a different one each time. Each of The Nutcracker performance is unique, and this matinee featured several newly selected casts, making it especially rewarding to watch. There were numerous standout performances and notable debuts, reinforcing ABT’s ability to make every show feel fresh. No matter how many times one sees The Nutcracker, new moments always emerge—details that catch the eye, performances that reshape the story, and magical elements that make each production memorable.
ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
Act I
In the opening kitchen and party scene, the company and children were precise in both movement and facial expression. Alexei Agoudine gleamed as Uncle Drosselmeyer, bringing a quirky flair and commanding the stage with ease. Shane Duncan, as Fritz, was notably spunky, while the children at the party were delightfully spirited throughout. Virginia Lensi was polished and refined as Mrs. Stahlbaum, while Brooks Landegger’s Mr. Stahlbaum carried a stately demeanor, smoothly guiding transitions throughout the party.
One of the highlights of Alexei Ratmansky’s choreography is the kitchen scene, where the tricksy mice are first introduced. Mabel Francis stood out as the Little Mouse, merry yet mischievous, and Ratmansky cleverly threads this humorous character throughout the ballet, tying scenes together seamlessly.
ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
Musically, the performance offered mixed results. Under the direction of conductor David LaMarche, the first half of the score moved at a brisk tempo—at times too fast—rushing nuanced moments that would have benefited from additional pauses, such as the timing of the Nutcracker’s chomps. Despite this, the Pacific Symphony sounded superb, and it remains a pleasure to hear music performed live.
The Battle scene was energized by expansive, expressive gestures from the mice. Duncan Lyle, as the Mouse King, infused the role with a fun, self-absorbed personality. The soldiers were charming in their interactions with the mice, adding a fairy-tale sense of humor. In a whimsical moment, young Clara watches from above while seated in an oversized chair, augmenting the enchantment of the scene.
ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
As Clara and the Nutcracker Prince journey into the Snow, the snowflakes dominated the stage with strength and precision. The women moved with unified sways, sharp musical cues, and angular grand jetés. Rosey Francis, portraying Clara, and Jack Loo, as the Nutcracker Prince, were spirited and playful among the snowflakes, creating enchanting moments. However, it was uncharacteristic for ABT that the young Clara did not closely resemble her grown-up counterpart—a tradition that usually improves believability. This casting choice slightly detracted from the narrative continuity.
ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
Act II
In the Land of the Sugar Plum Fairy, the divertissements delivered several impressive performances. The Chinese dance, performed by Zimmi Coker and Takumi Miyake, was a dazzling highlight. Their synchronicity, speed, and joyful energy made them a spark of excitement onstage. The Arabian dancers—Leah Baylin, Abbey Marrison, Rachel Richardson, and Remy Young—worked beautifully as an ensemble, expressive and fluid in their movement. Cy Doherty added an underlying seductive quality to the choreography, responding naturally to the group dynamic. The Nutcracker Sisters—Elisabeth Beyer, Lauren Bonfiglio, Breanne Granlund, Kanon Kimura, and Hannah Marshall—were charming and well synchronized. Granlund stood out with crisp, clearly articulated steps and an engaging persona.
ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
In the Waltz of the Flowers, the women moved cohesively, with Madison Brown catching the eye with her radiant smile and strong projection. The Bees, danced by Finnian Carmeci, Brooks Landegger, Duncan McIlwaine, and Nathan Vendt, offered an interesting departure from previous casts. Their version was less sharp and featured a flowing upper body, providing a refreshing and appreciated interpretation.
Grand Pas de Deux
Then there was wow! Chloe Misseldine and Jarod Curley, portraying the grown-up Clara and the Nutcracker Prince, were exquisite. Both dancers possess a commanding stage presence. Misseldine, standing 5’9” and well over six feet on pointe, and Curley, at 6’3”, are statuesque and mesmerizing to watch. Their pas de deux was luxurious and seamless. Curley proved to be a thoughtful and reliable partner, carrying Misseldine confidently through each lift. Misseldine’s soft, graceful upper-body movement paired with her long, silky lines was hypnotic. Curley’s variation leaned toward a clean, understated approach, with solid, lofty movement that complemented Misseldine’s elegance beautifully. This was an excellent pairing, and it will be exciting to see them together on stage again in the future.
ABT’s Catherine Hurlin and Aran Bell in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
American Ballet Theatre’s The Nutcracker succeeds because of its attention to detail—thoughtful casting, nuanced performances, and moments of genuine artistry that reveal themselves with each viewing. From emerging dancers to seasoned principals, this matinee demonstrated the depth of ABT’s roster, and the care invested in every aspect of the production. It is a reminder that The Nutcracker endures not simply as a holiday tradition, but as a living work, renewed each season by the artists who bring it to life.
ABT’s The Nutcracker continues through December 21, 2025 at the Segerstrom Center for the Arts. For more information and to purchase tickets, please visit their website.
To learn more about American Ballet Theatre, please visit their website.
Written by Alice Alyse for LA Dance Chronicle.
Featured image: ABT in Alexei Ratmansky’s “The Nutcracker” – Photo by Cheryl Mann.
