‘Nutcracker’ fine holiday gift to city
One of the most stunning gifts of the holiday season was unwrapped just a few days before Christmas at the Opera House, when Alberta Ballet opened its annual production of “The Nutcracker.”
It features many familiar icons of the holiday: an elaborate Christmas party, a nutcracker, a Christmas tree, a sled ride, toy soldiers, snowflakes, a Snow Queen, a Prince Charming and the Sugar Plum Fairy.
The ballet embodies a flight of imagination from the creative minds of Peter Ilyich Tchaikovsky and Marius Petipa. The two worked closely together. As Petipa created the original choreography for the Russian Imperial Ballet in St. Petersburg in 1892, he told the composer measure-by-measure exactly what kind of music he wanted.
Tchaikovsky’s score was sumptuously performed by the Spokane Symphony on Wednesday night under the baton of Peter Dala, Alberta Ballet’s musical director.
When Dala presented the orchestra at the beginning of the second act, the audience paid tribute with animated applause.
Petipa’s choreography, reinterpreted by Alberta Ballet’s former artistic director, Mikko Nissinen, offered virtuosic roles for adult dancers and for children from 10 local dance studios. Hats off to Peggy Goodner Tan as rehearsal mistress for the children. The ensemble was well-rehearsed and charming.
Twelve-year-old Jennifer Hansen, as Clara, was technically proficient, but it was Ian Tanzer as her impish little brother Fritz who captured the soul and spirit of childhood. He won the hearts of the audience with his well-centered pirouettes, self-confident dancing and commanding stage presence. His performance epitomized the fun that brash young boys have teasing giggling girls.
As Uncle Drosselmeier, Alberta Ballet’s Kelley McKinlay embodied the adult version of Fritz. He teased the children with gifts, then gave the nutcracker to Clara. His captivating characterization of a somewhat disoriented old wizard was enhanced by his impeccable comic timing. His subtle interaction with the nutcracker toy told the audience of its magical qualities long before they were enacted on stage.
The corps de ballet performed the ensemble pieces with elegance, clarity and grace.
Their carefully synchronized timing and beautiful lines bespoke hours of arduous rehearsal, yet supported the illusion of effortlessness.
Four performances in the second act were outstanding. The Spanish Dance was rendered with fervent passion and distinctive style by Amanda Walsh, Blair Puente and Matthew Lehmann.
The chemistry between Tanya Dobler and Jonathan Renna in the Arabian Dance drew the audience into the intoxicating action. The pair moved in perfect harmony to create long, sensuous lines that embodied unforgettable, smoldering, but fleeting moments.
Russian dancers Scott Maybank and Heberth Riascos packed their performance with impossible, yet impeccable jumps and leaps and a tour de force that brought the house down. Each movement was filled with pizzazz, verve and total commitment.
“The Nutcracker” closed with the Sugar Plum Fairy and the Prince’s grand pas de deux, danced by Maki Matsuoka and Christopher Gray.
During their striking solos – his marked with leaping turns and hers with lightning-fast footwork – the crowd was spellbound. When they partnered, their lines precisely mirrored one another and the well-controlled lifts stirred the audience to a burst of enthusiastic applause.
If you haven’t seen “The Nutcracker” yet, don’t miss one of the most exciting gifts of the holiday season.