San Jose Center for the Performing
Arts, San Jose
December 17, 2011
Ballet San Jose's “The Nutcracker”
affords the Bay Area yet another opportunity to experience the
traditional Christmas tale. Choreographed by Artistic Director
Dennis Nahat on the former Cleveland Ballet in 1979, this production
centers around the main character of Maria Tannenbaum and her beloved
Nutcracker Prince. While much of Act One is familiar to any
“Nutcracker” fan, Act Two is quite a diversion from the typical
“Nutcracker” story. Instead of arriving in the 'Land of the
Sweets', Maria and the Prince travel through three different lands.
In each locale, they are greeted with the dance of that nation and
are invited to participate. Lastly, they arrive at their final
destination of Muscovy and it is here where the Prince is joyfully
reunited with his parents, Tsarina Tatiana and Tsar Nikolai (danced
by Karen Gabay and Rudy Candia at this performance) and is able to
introduce them to Maria.
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| Photo by Robert Shomler |
Act I, Scene IV, aptly named 'A
Wondrous Snowstorm', highlights Nahat's unique ability to marry
classic and contemporary sensibilities. The technique and physical
syntax definitely fall into the classical camp. The snowflakes run
into the space like ethereal fairies, carrying handfuls of snow that
they dispel into the air. Beautiful port de bras fills the entire
group dance that follows. The hands and arms move above the head,
gently brushing the sky in combination with airy pas de basques;
chaîné turns fall into waltz
steps and balancés while the arms alternate between bras bas and 5th
position. Constant motion was the name of the game; even in the few
moments where the snowflakes posed in a particular position, there
was no stopping. You could see them growing and extending every
second they were on stage – constant and impenetrable flow and
grace. Some classical patterning also deserves special mention.
Near the end of the scene, a gorgeous musical glissando is
represented by sequenced floorwork that increased in tempo and
intensity as dictated by the score. And, the winter wonderland
concluded with the snowflakes boureéing in a zipper formation,
engulfing Maria and the Prince in their embrace before sending them
off on the next leg of their adventure.
It
was in the narrative that Nahat employed a more contemporary
interpretation of the snow scene (and for me his choices make a lot
of sense). He elects not to feature a Snow King or Queen and instead
have Maria and the Prince dance the entire pas de deux together.
This choice allows a stronger participatory element to their story –
they are really involved in the transition from the party through the
snowy forest and into the next dimension. By having them dance these
'lead roles', Maria and the Prince are not only present but also
active in every part of their journey.
When
I attend any ballet, my focus is obviously on the dancing and
choreography. I tend to not comment too much about design or
costumes but every once in a while, one of these elements is so
overwhelming that it must be mentioned. I felt transported by the
stunning snow scenery in Ballet San Jose's “The Nutcracker”.
David Guthrie has envisioned a set that creates a wintry forest
possessing emotion, beauty and depth. Bravo!
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