The Nutcracker


Nutcracker Online Performances 2020

The annual Nutcracker season is upon us and with many theatres closed and ballet companies working at reduced capacity, you may be wondering how to get your fix of Soldiers, Snow, and Sugarplums.

The good news is that several companies are offering this traditional holiday production – or some variation of it – in other formats: online streaming, television broadcasts, and cinema showings.

The Nutcracker Online Performances 2020 list below focuses on just those that are available to a broader, global audience.

To find all Nutcracker performances – whether they be in-person, on the big screen, broadcasting on your local television channel, or online – plus information about the plot, the characters, and a Nutcracker playlist check out our dedicated Nutcracker page

And why not play our Nutcracker Quiz to test your knowledge about one of our favorite ballets?!

In the list below, those with a ❆ snowflake icon ❆ we will or we have reviewed; these can be read directly below the accompanying performance information. 

Please note that not all of these online performances are necessarily “The Nutcracker” as we are familiar with as many companies have adapted their traditional annual production in order to accommodate physical distance restrictions and/or to better suit a digital experience.

Although all of the buttons below each event say “TICKETS”, some of the companies are actually offering their productions at no cost; but they often require registration, so be sure to still click through to make sure you don’t miss a show!

Nutcracker Online Performances 2020

AMERICAN BALLET THEATRE: THE NUTCRACKER

December 4-31, 2020

American Ballet Theatre - The Nutcracker 2020

Cast

  • Clara, The Princess: Isabella Boylston
  • Nutcracker, The Prince: James Whiteside

✧ American Ballet Theatre Nutcracker Review

The Grand Pas de Deux excerpt from Alexei Ratmansky’s The Nutcracker that American Ballet Theatre traditionally performs at the Segerstrom Center for the Arts in California, is a special filming sponsored by LG. It is jam-packed with challenging and quick-paced choreography, especially in the pas de deux. To note is that for the first time in Ratmansky’s staging, the female variation includes Lev Ivanov’s 1892 original choreography.

This 10-minute free performance is a gift from America’s National Ballet Company and a wonderful way to get into the holiday spirit.

ATLANTA BALLET: THE NUTCRACKER ON-DEMAND

November 25 – December 27, 2020

Atlanta Ballet - The Nutcracker 2020

BALLET ARIZONA: NUTCRACKER SUITE

December 12 & 19, 2020

Ballet Arizona - The Nutcracker Suite 2020

Cast

  • Snow Queen: Rochelle Anvik
  • Snow King: Ethan Price
  • Sugar Plum Fairy: Tiffany Chatfield
  • Her Cavalier: Luis Corrales
  • Dew Drop: Rochelle Anvik

✧ Ballet Arizona Nutcracker Suite Review

This unique version of the holiday classic includes an archival party and battle narrated by company dancer Jillian Barrell. Masked snowflakes mark the beginning of a performance filmed earlier this month that then continues through to the finale. 

This entire Suite moves quickly both in overall pace and movement. Andersen’s corps scenes – snow and flowers – are particularly energetic, full of choreographic canons that are done with wonderful precision, a necessity so as to not appear a mess. They dancers are clearly well-rehearsed. 

Also to note are the strength of the male dancers. The Sugar Plum Fairy’s two pages? (there is no program credit) and the Tea and Trepak duets are all outstanding. 

BALLET AUSTIN: THE NUTCRACKER “HOME FOR THE HOLIDAYS”

December 12, 2020 – January 1, 2021

Ballet Austin - The Nutcracker 2020

BALLETCOLLECTIVE: THE NUTCRACKER AT WETHERSFIELD

December 23-26, 2020

BalletCollective - The Nutcracker at Wethersfield Streaming

BALLETMET: A NUTCRACKER HOLIDAY

December 4-27, 2020

BalletMet - A Nutcracker Holiday

Cast

  • Herr Drosselmeyer: William Newton, Austin Powers
  • Young Clara: Kaitlynn Hanna
  • Grown Up Clara: Jessica Brown, Caitlin Valentine
  • Nutcracker Prince: Michael Sayre
  • Sugar Plum Fairy: Caitlin Valentine, Grace-Anne Powers
  • Cavalier: Miguel Anaya

✧ BalletMet Nutcracker Review

This abridged version of our favorite seasonal ballet titled Clara’s Nutcracker Prince is a narrated reflection of one of our young protagonists favorite holiday memories. The only section shown in full is the pas de deux of the Grand Pas but the video and audio editing are pretty seamless making for a pleasurable viewing experience. And there is enough shown of each scene so as to not feel like measly samplings. This production is a great way to introduce young ones to both the tale and the beautiful dancing that often provokes them to become interested in ballet.

As indicated in the casting above, it appears that footage is taken from multiple performances; I did not notice this while watching, so glad that it wasn’t a distraction.

✧ Extra Features

Along with Clara’s Nutcracker Prince, A Nutcracker Holiday also features other related activities for the family such as The Nutcracker Scavenger Adventure, Holiday Crafts, Favorite Seasonal Recipes, Spotify Playlists, and Coloring Pages. This makes for a full afternoon of holiday fun!

BALLET WEST: THE NUTCRACKER

December 24 & 25, 2020 and January 1, 2021

Ballet West Review - The Nutcracker 1218

✧ Ballet West Nutcracker Review

BIRMINGHAM ROYAL BALLET: THE NUTCRACKER AT THE REP

December 18-24, 2020

Birmingham Royal Ballet - The Nutcracker at the REP

BOSTON BALLET: THE GIFT

December 17-27, 2020

Boston Ballet - The Gift

Cast

  • Grand pas de deux from The Nutcracker: Viktorina Kapitonova + Tigran Mkrtchyan
  • Duke Ellington’s Nutcracker Suite: Boston Ballet, Boston Ballet II, and Boston Ballet School Post Graduates

✧ Boston Ballet The Gift Review

For those expecting classical ballet, the first part of this program features the Grand pas de deux from Mikko Nissinen’s The Nutcracker. The experience is unique, though: Vitorina Kapitonova and Tigran Mkrtchyan’s costumes come with coordinating masks and they dance to Alex Foaksman’s live piano playing. It is an interesting decision to not use a recorded orchestral version of Tchaikovsky’s famous notes resulting in more of a dress rehearsal vibe than that of a performance.

Segueing the classical to the contemporary is Eric Jackson, aka the “Dean of Boston Jazz Radio”, providing some history of Duke Ellington. Ellington’s “The Nutcracker Suite” serves as the music and inspiration of what is to follow.

Boston Ballet, Boston Ballet II, and Boston Ballet School Post Graduates choreograph nine short pieces for each other. Aside from the score, the threads that tie them together are a coordinated palette of grayscale and red hued costumes and the sole piece of scenery that stays suspended throughout. Paul Craig’s Sugar Rum Cherry (Dance Of The Sugar-Plum Fairy) feels overall the strongest and Chyrstyn Fentroy’s stage presence although minimal is most memorable; but each vignette shows admirable effort in creating contemporary dance to syncopated music.

BOSTON BALLET: THE NUTCRACKER

November 30 – December 25, 2020

Boston Ballet - The Nutcracker Online 2020

Cast

  • The Nutcracker Prince: Tigran Mkrtchyan
  • Sugar Plum Fairy: Ji Young Chae
  • Drosselmeier: Paulo Arrais
  • Clara: Mia Steedle
  • Snow Queen & King: Seo Hye Han & Paul Craig
  • Dew Drop: Viktorina Kapitonova

✧ Boston Ballet Nutcracker Review

This made-for-tv one-hour production is introduced by Hoda Kotb and narrated by Drosselmeier. It is a very abridged version of the full-length performance, so perhaps a good introduction for the young ones, but not a fulfilling experience for those wanting to watch a lot of dance. The only (near) full scenes that are shown are the Battle, Snow, Spanish, Flowers, and the Grand Pas Deux, the highlights being Ji Young Chae and Seo Hye Han as the Sugar Plum Fairy and Snow Queen, respectively. 

This offering is complimentary, though, so if you’re looking for a quick fix of this holiday favorite all that’s required is registration with an email address.

CHARLOTTE BALLET: THE NUTCRACKER AT HOME

December 23-26, 2020

Charlotte Ballet - A Fairy-Tailored Nutcracker

CINCINNATI BALLET: THE NUTCRACKER AT HOME

December 17-27, 2020

Cincinnati Ballet - The Nutcracker at Home

COLORADO BALLET: THE NUTCRACKER 

December 4-25, 2020

Colorado Ballet - The Nutcracker 2020

Cast

  • Clara: Sarah Tryon
  • Nutcracker Prince: Francisco Estevez
  • Sugarplum Fairy: Chandra Kuykendall
  • Cavalier: Christophor Moulton

ENGLISH NATIONAL BALLET: NUTCRACKER DELIGHTS

December 24, 2020 – January 23, 2021

English National Ballet - Nutcracker Delights

GRAND RAPIDS BALLET: THE NUTCRACKER EXPERIENCE

December 18-31, 2020

Grand Rapids Ballet - the nutcracker experience

Cast

  • Dream Clara: Julia Turner
  • Nutcracker Prince: Nathan Young
  • Dew Drop Fairy: Sarah Marley
  • Sugar Plum Fairy: Yuka Oba-Muschiana
  • Cavalier: Josue Justiz

✧ Grand Rapids Ballet Nutcracker Experience Review

Although not the most glamorous of Nutcrackers, Grand Rapids Ballet’s presentation for this holiday season is a special one. The company really accentuates the significance of the arts in their local and broader communities by including coverage of the Grand Rapids Symphony. In fact, the film begins with them – masked and physically distanced – playing the overture for the narrated Party and Battle Scenes.

Between Snow and Act II, there is also behind the scenes footage at the making of this production. From the artists talking about their first dance experiences to a peek into the costume shop to a look at how footage is spliced together, we are made aware of just how much human effort is made in the creation of ballet magic. Especially interesting to learn is that only four dancers are on stage at any given time; but due to incredible compositing and editing, we are provided a seamless viewing experience.

The second act includes most of the divertissements as well as the Sugar Plum Fairy and Cavalier variations and coda (there is no grand pas de deux). The dancers’ technique is not always as refined as one would expect from a professional company, but their energetic presence consistently radiates throughout.

HOUSTON BALLET: NUTCRACKER SWEETS

December 15 – January 8, 2021

Houston Ballet - Nutcracker Sweets

NEW YORK CITY BALLET: THE NUTCRACKER

December 11 – January 3, 2021

New York City Ballet - The Nutcraker 2020

CAST

  • Sugarplum Fairy: Maria Kowroski
  • Her Cavalier: Tyler Angle
  • Dewdrop: Megan Fairchild

ORLANDO BALLET: THE NUTCRACKER

December 24, 2020 – January 15, 2021

Orlando Ballet - The Nutcracker

CAST

  • Sugarplum Fairy: Chloe Misseldin
  • Her Cavalier: Aran Bell

PACIFIC NORTHWEST BALLET: THE NUTCRACKER

December 11-26, 2020

Pacific Northwest Ballet - The Nutcracker 2020 - digital

PITTSBURGH BALLET THEATRE: FIRESIDE NUTCRACKER

December 17-31, 2020

Pittsburgh Ballet Theatre - Fireside Nutcracker

Cast

  • Drosselmeyer: Steven Annegarn
  • Marie: Diana Yohe
  • The Nephew: Joseph Parr
  • Snow King: William Moore
  • Snow Queen: Gabrielle Thurlow
  • Winter Fairy: Alexandra Kochis
  • Sugar Plum Fairy: Jessica McCann
  • Cavalier: Yoshiaki Nakano
  • The Garden Fairy: Hannah Carter

ROYAL WINNIPEG BALLET: THE NUTCRACKER SUITE

December 23-27, 2020

Royal Winnipeg Ballet - The Nutcracker Suite

SAN FRANCISCO BALLET: NUTCRACKER ONLINE

November 27 – December 31, 2020

San Francisco Ballet - Nutcracker Online 2020

Cast

  • Clara: Elizabeth Powell
  • Snow Queen: Yuan Yuan Tan
  • Snow King: Pierre-François Vilanoba
  • Sugar Plum Fairy: Vanessa Zahorian
  • Grand pas de deux: Maria Kochetkova and Davit Karapetyan

✧ San Francisco Ballet Nutcracker Review

Set in 1915 in San Francisco, Helgi Tomasson’s 2004 version of “The Nutcracker” features glamorous costuming and decorative nuances of that era.

The story is well-woven with details that make you think, “Oh yes! That totally makes sense!” For example, in the first act all of the mechanical dolls (the Nutcracker being one of them) appear in the beginning of Clara’s dream, giving weight to the theory that what we experience in real life enters our subconscious mind. Also, the King of the Mice’s death is not precipitated by a ballet slipper but rather… well, best to leave that surprise for your viewing! As Clara and her Nutcracker-turned-Prince journey through the Land of Snow, the Queen, King, and snowflakes they encounter are absolutely beautiful.

In the second act, the Sugar Plum Fairy reigns the Crystal Palace which is filled with dragonflies, butterflies, and ladybugs. The divertissements perform for Clara and Drosselmeyer who sit upon a dais that changes location in order to adapt to the dances. The Sugar Plum Fairy leads the flowers (so no Dewdrop Fairy) and when Clara’s dream to become a ballerina comes true, it is a more adult version of herself that dances the Grand Pas de Deux with the Prince.

Tomasson’s unique vision and choreography are what make this version of “The Nutcracker” worth seeing.

✧ Extra Features

In San Francisco Ballet’s Nutcracker Online, you will also be treated to an introduction by Elizabeth Powell who plays Clara in the filming and is now a soloist in the company, interactive virtual reality images of the exterior and interior of the city’s War Memorial Opera House, a history of The Nutcracker (in 1944, San Francisco Ballet performed the first full version in America!) and thematic games to bring you even more joy during a time when it is so needed.

SCOTTISH BALLET: THE SECRET THEATRE

December 21-24, 2020

The Scottish Ballet - The Secret Theatre

THE NATIONAL BALLET OF CANADA: THE NUTCRACKER

from December 4, 2020

The National Ballet of Canada - The Nutcracker 2021 Cineplex

THE WASHINGTON BALLET: THE NUTCRACKER VIRTUAL EXPERIENCE

December 2020

The Washington Ballet - The Nutcracker Virtual Experience
Nutcracker Online Performances 2020

Featured Photo for Nutcracker Online Performances 2020: Paulo Arrais, Tigran Mkrtchyan, and Mia Steedle of Boston Ballet in Mikko Nissinen’s The Nutcracker © Liza Voll Photography

Special thanks to

Tulsa Ballet Review: Stepping Out of The Nutcracker Box

Yes, you read that correctly.

Not only was this the first live ballet performance I have watched via Zoom; it was my first time ever using Zoom. I didn’t admit that to Artistic Director Marcello Angelini when he invited me to watch Tulsa Ballet’s The Lost Nutcracker opening night performance and lucky for me I managed to keep my audio muted and camera turned off the entire time.

Confirmed in what was proven in their Creations Reimagined program, the dancers of Tulsa Ballet are – simply put – wonderful. No matter if they are wearing ballet shoes, pointe shoes or character shoes and regardless of what style of dance they are performing, they do it well.

Tulsa Ballet - Holiday Boogie
Maine Kawashima and Sasha Chernjavsky in Ma Cong's Holiday Boogie © Bethany Kirby

“Holiday Boogie” sets the tone for the entire evening. From the moment the curtain opens, it is clear that the objective of the program is to bring holiday joy and energy to the audience; the important thing is to take it with a grain of salt. Though a bit (intentionally?) over the top at times, Ma Cong‘s choreography conveys the sentiment behind six classic Christmas songs, making use of  various dance vernacular to best fit each section. It is well-performed by what I believe is the entire company and definitely entertaining.

Tulsa Ballet II - Little Story
Members of Tulsa Ballet II in Joshua L. Peugh's Little Story © Bethany Kirby

Gears are switched dramatically for Joshua Peugh‘s “Little Story”.  Performed by Tulsa Ballet II (the transition space for dancers who train with both the highest level of the school as well as the company), the narrative is inspired by the bits and pieces of E. T. A. Hoffman’s and Alexander Dumas’ Nutcracker tales that have perhaps been overlooked by the ballet version of “The Nutcracker” that we are familiar with.

Intellectually, it’s a great study. The juxtaposition between our perceptions of what Nutcracker should be and the visual, audio, and sensory experience Peugh’s creation provokes is mirrored and accentuated by the genre of the score – klezmer.

At first I’m a little overwhelmed by the intensity and speed of it all but gradually find myself entranced in the fervor. Although I catch what are the more obvious references to the traditional ballet, a second – or third – viewing would be necessary to appreciate all of the nuances. I am impressed with the capacity of these young dancers to excel at such a cerebral work.

Tulsa Ballet - The Lost Nutcracker
Tulsa Ballet Artists in Luciano Cannito's The Lost Nutcracker © Bethany Kirby

Splash “The Nutcracker” stage with some of “Alice’s Adventures in Wonderland” surrealism and you’ve got Luciano Cannito‘s “The Lost Nutcracker”.

On a mission to find their beloved Prince, Marie and Clara – yes, there are two young girls in this telling – search through the balletic vaults and run into Sleeping Beauty & Prince Desiré and Odette/Odile & Prince Siegfried. The choreographer’s cinematic mindset is a useful tool in creating the sharp scene cuts as there is no other way to successfully transition between Mariah Carey, Tchaikovsky, and Jose Feliciano, or from stage to pedestrian environments. 

The sooner the audience accepts the bizarro world the better. It is only then that one can just relax and truly enjoy the show.

No performances found!
Featured Photo of  Giulia Neri, Chandler Proctor, and Maine Kawashima in Luciano Cannito’s The Lost Nutcracker © Tulsa Ballet

Special thanks to

Atlanta Ballet Review: A Nutcracker Full of Surprises

The ballet holiday season has officially begun with Atlanta Ballet’s The Nutcracker at The Kennedy Center. D.C. audiences are the first outside of Atlanta to see this theatrical multi-media production that premiered last year in the company’s home state. Yuri Possokhov‘s fast-paced choreography aligns appropriately with the non-stop action happening on the stage. At times the constant movement (most especially by the Mad Hatter-like Drosselmeier) makes it challenging to follow everything going on; and this is a shame as Possokhov is quite the story teller and it would be wonderful to have the opportunity to catch all the nuances.

For fear of revealing too many of the surprises for those readers planning on viewing the show, details of the performance will be kept to a minimum. To note – and be on the lookout for – are the clever use of a door and marionettes, as well as characters one wouldn’t necessarily expect to see in The Nutcracker. This being said, having an open mind is important to appreciating what this reimagining offers compared to the ones that tend more toward traditional. The celestial motif in particular seems to lend itself to more futuristic costume and set designs.

What is not be left out of this writing is reaction to Remi Nakano‘s interpretation of Marie as a child. She is a splendid actress whose expressiveness of face and body is a complement to her lovely dancing – essentially displaying the entire package that a young professional aspires to have. Of the company members, standout are Jacob Bush and Jackie Nash for their athleticism and charm in the French Dance and Fuki Takahashi for her enviable technical strength and delicacy in the Chinese Dance.

Atlanta Ballet in The Nutcracker
Remi Nakano as Young Marie in The Nutcracker © Kim Kenney
Nutcracker Online Performances 2020
Atlanta Ballet in The Nutcracker © Gene Schiavone

Atlanta Ballet will be performing The Nutcracker at The Kennedy Center through December 1, 2019. So since the family is already together giving thanks for each other and the blessings in their lives, why not continue the celebration by heading to the theatre? Everyone is sure to find something they love about this presentation. 

Featured Photo of Atlanta Ballet in The Nutcracker © Gene Schiavone

 

Special thanks to

Kennedy Center

Tulsa Ballet Celebrates 50 years of The Nutcracker

Tulsa Ballet will be performing the holiday classic The Nutcracker for the fiftieth year at Tulsa Performing Arts Center from December 7-22, 2020.

There is a reason why The Nutcracker has continuously charmed the hearts of families all around the Tulsa area for 50 years. It’s not just because of the surreal magical moment snow drops on the stage from the sky inside of the Tulsa PAC during the performance, it’s not just the breathtaking choreography from Artistic Director Marcello Angelini, and it’s not just the classic story of the beloved Nutcracker character we have come to love since its storybook debut in 1816. Audiences from all over come to see Tulsa Ballet’s The Nutcracker not only for all of those reasons, but because of all of the incredible history this ballet holds within the hearts of the Tulsa community.

“Celebrating 50 years of continuous run of The Nutcracker is an opportunity for
reflection and assessment. I wouldn’t be surprised if the total number of people that interacted with our
The Nutcracker during its 50-year run is close to a million. Those are lives that, in one way or another,
were touched and maybe even shaped by the Mouse King, The Nutcracker, or the Sugar Plum Fairy
and her Cavalier. No matter on which side of the pit they happen to be, we left a small piece of The
Nutcracker in their hearts!”

– Tulsa Ballet Artistic Director Marcello Angelini

Tulsa Ballet (then known as Tulsa Civic Ballet) first debuted its first full-length performance of The Nutcracker on December 13, 1969, with choreography by Tulsa Ballet founders Roman Jasinski and Moscelyne Larkin. Many of the dancers from this first performance went on to achieve Principal positions at prestigious ballet companies all around the U.S., along with two of the original cast members, Cheryl Forrest and Georgia Snoke, still holding positions on the Tulsa Ballet Board of Directors, heading up the archives department, preserving Tulsa Ballet’s long and inspirational history.


After an outstanding 33 years of Jasinki’s The Nutcracker, its final presentation was in 2002, ushering in a new and exciting production from the company’s current Artistic Director the next year, starring Daniela Buson and Alfonso Martin. Set in 1920’s Paris, Angelini’s The Nutcracker is a beautiful and magical version of this classic tale that is synonymous with the holiday season.


Nutcracker Online Performances 2020  

Source: Tulsa Ballet 

The Kennedy Center Presents Atlanta Ballet in The Nutcracker

For its annual holiday production for 2019, the Kennedy Center presents Atlanta Ballet in The Nutcracker. This production made its debut in 2018 with choreography by Yuri Possokhov set to Tchaikovsky’s score. This will be the first time Atlanta Ballet performs at the Kennedy Center.

 

Atlanta Ballet joins the robust list of American ballet companies to share their holiday tradition with Washington, D.C. metropolitan area audiences in the Kennedy Center’s annual presentation of The Nutcracker. Under the artistic direction of Gennadi Nedvigin, Atlanta Ballet premiered its first new production of The Nutcracker in more than two decades in Atlanta last December. A balanced blend of contemporary and classic, this version closely follows E.T.A. Hoffmann’s original 1816 tale, The Nutcracker and the Mouse King, but uses elaborately crafted, larger-than-life scenery combined with advanced techniques in lighting and video projections to bring the magical story to life.

 

The production highlights:

  • scenic design by Tom Pye
  • lighting design by David Finn
  • costumes by Sandra Woodall
  • video projections by Tony Award®–winning designer Finn Ross.

 


Integrated into this eye-catching layering of visual effects is San Francisco Ballet’s acclaimed in-house choreographer Yuri Possokhov’s new choreography, which expands the roles of protagonist Marie and the Nutcracker Prince by giving both characters the ballet’s major pas de deux, which are typically performed by more conventional characters like the Sugar Plum Fairy, Cavalier, Snow Queen and Snow King. Throughout the production, the ballet takes the audience on a journey through a unique visual reality for the beloved story.

 

An annually anticipated opportunity for local partnership for learning and collaboration between area artists and visiting companies, more than 45 local children from the Washington, D.C. metropolitan area will join in the production. In addition, the Arlington Children’s Chorus lend their voices to the dazzling snow scene. All performances will be accompanied by the Kennedy Center Opera House Orchestra.

 

 


Nutcracker Online Performances 2020  
Source: The Kennedy Center | Featured Photo © Gene Schiavone, Atlanta Ballet in The Nutcracker 

Maurice Sendak’s Designs for The Nutcracker

When we hear the name Maurice Sendak, our mind can’t help but to immediately think of his oh so famous picture book Where the Wild Things Are. The Morgan Library & Museum in New York City wants to expand our horizons and knowledge of the artist by presenting an exhibit titled Drawing the Curtain: Maurice Sendak’s Designs for Opera and Ballet.

 

The exhibit, which runs from June 14 – October 6, 2019, features works by Sendak that focus on designs created for opera and ballet. Most specifically in the ballet arena are his more macabre visions of The Nutcracker which capture the darker side of E.T.A. Hoffmann’s tale. If you’re unable to visit them in person, scroll below to see his sketches from a few of the ballet’s iconic scenes. At the very end, there’s also a video covering more details about how Sendak’s love for music and opera seemed a natural fit for his work as a set and costume designer.

Maurice Sendak - The Nutcracker
Maurice Sendak (1928-2012), Design for show curtain (Nutcracker), 1983, gouache and graphite pencil on paper. © The Maurice Sendak Foundation. The Morgan Library & Museum, Bequest of Maurice Sendak, 2013.107:262.
Maurice Sendak - The Nutcracker (Clara's Bedroom)
Maurice Sendak (1928-2012), Scene design for Clara's bedroom (Nutcracker), 1982-1983, gouache and graphite pencil on paper. © The Maurice Sendak Foundation. The Morgan Library & Museum, Bequest of Maurice Sendak, 2013.107:261.
Maurice Sendak - The Nutcracker (Battle Scene)
Maurice Sendak (1928-2012), Design for battle scene, Act I (Nutcracker), 1982-1983, gouache and graphite pencil on paper. © The Maurice Sendak Foundation. The Morgan Library & Museum, Bequest of Maurice Sendak, 2013.107:262.
Maurice Sendak - The Nutcracker (Ship)
Maurice Sendak (1928-2012), Ship (Nutcracker), 1982-4, gouache and graphite pencil on paper. © The Maurice Sendak Foundation. The Morgan Library & Museum, Bequest of Maurice Sendak, 2013.107:289.

 

Nutcracker Online Performances 2020

 

An Interview with Graham Lustig: On Nutcracker and Bees

Graham Lustig
Graham Lustig

After a successful opening of its 2018-2019 season with Luna MexicanaOakland Ballet Company is ready to head back to the Paramount Theatre to perform Artistic Director Graham Lustig’s The Nutcracker on December 22 and 23. This is truly a production filled with local talent; along with his company dancers, the Oakland Symphony and the Piedmont East Bay Children’s Choir will also be featured. After the shows, there will be several opportunities for audience members to interact with the performers. Following the matinees are Sweet Dreams Parties at which children of all ages can meet characters from the ballet while enjoying refreshments. An Encore Reception follows the Saturday evening show; adults will be served hors d’oeuvres and champagne while mingling with company dancers and artistic staff.

In the midst of his busy schedule, we had the opportunity to chat with Graham a bit more about what makes Oakland Ballet Company’s Nutcracker different and how the company invests their time in the community this holiday season. We also learned how the man who runs the show likes to spend his time when not in the studio or theatre.

Interview with Graham Lustig

What makes Oakland Ballet's Nutcracker unique?

What makes Oakland Ballet’s Nutcracker unique is that first, it is the only professional Nutcracker production in the East Bay, and also this is the 47th season that the company has presented the Nutcracker in Oakland’s Paramount Theatre.

In addition, the Oakland Symphony performs the Tchaikovsky score in its entirety, including the addition of a children’s choir in the snow scene. Some special parts of our production include some plot twists as well: we have ten little dancing Snowballs in the Land of the Snow, and Marie and her Nutcracker fly to Confiturenburg (the Land of Sweets) in a tree ornament shaped like a hot-air balloon. My production is also set in Edwardian times, when women were were riding bicycles, no longer wearing corsets and becoming more self empowered by the fight for emancipation. The set design is Viennese, and this shows the birth of modernism.

Educational outreach is an integral part to Oakland Ballet's mission; what kind of special events will be held related to The Nutcracker?

Oakland Ballet Company annually donates many tickets to community members who might not otherwise be able to attend the performances. This season, we will bring in-school performances to eight under-served area schools, and nearly 40 schools will attend our educational matinee Nutcracker performance in the Paramount Theatre.

Do you continue to choreograph works outside of Oakland Ballet Company?

Much less these days. I’m really so very busy here that I hardly have any breathing space.

When you are not in the dance studio or at the theatre, what do you enjoy doing?

Well, I think I have two favorite pastimes. About 18 months ago I adopted a puppy. So one of the lovely things to do after a nasty sweaty day in the rehearsal studio is to go out, go to the shore which is only 15 minutes away from here and take a beach walk with the dog. With a sunset that is absolutely lovely. And then, since I moved here to California I’ve started keeping bees, so I have an apiary in the garden with beehives. And I’m doing that not because I want to harvest honey but actually because when I was walking around the amazing gardens around here I just thought, “Wow it’s so quiet, I don’t really see any bees”. And I think that’s a real issue. And it’s more if urban gardeners keep a hive in their garden…it’s not a question of 15,000 hives on a hill in a country – what we need is many more single hives dotted all over the country and then the bee colonies will get stronger again. It’s a fun thing to do. I was terribly scared when I first started.

Wait...do you have a suit?

Oh, I do! Are you kidding me?! But it’s amazing. The bees don’t actually want to sting you; they want to get on with what they’re doing. I’ve learned a lot about bee keeping and maybe if I’m lucky enough, in the futre I’ll go on to mead, the wine that you make from the honey.

If you could choose a ballet scene that most reflects your life right now, what would it be?

Oh my gosh…I’m not sure if I’m Seigfried casting myself off the rock at the end of that tour…or there’s Tsarevich at the end of Firebird slowly pointing my way to heaven…or Petroushka caught in the cell room where he can’t get out! [Editor’s note: Being a natural performer, Graham cannot help but gesture these scenes while talking.] So maybe one of those scenarios but I’m not sure which one today.

 

Nutcracker Online Performances 2020

 

Source: Oakland Ballet Company | Featured Photo © John Hefti, Dancers: Graham Lustig with Alysia Chang and Calvin Thomas

Test Your Nutcracker Ballet Knowledge


Nutcracker Ballet Quiz

So you’ve seen “The Nutcracker” dozens of times…but how well do you know the story behind the story of one of the ballet world’s most treasured traditions? Here at The Traveling Ballerina, we’ve put together this Nutcracker ballet quiz so that you can find out just how knowledgeable you really are. Have fun! And perhaps you will learn something new 🙂

 

Nutcracker Online Performances 2020

 

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Ballet West Review: The Most Stunning Nutcracker of Them All

The Nutcracker is a holiday classic that you can find in almost every American city – big or small – and this year our nation’s most prominent performing arts center The Kennedy Center presents Ballet West as their Christmas stars this season. There is no doubt why Willam Christensen‘s version is the longest-running full-length production in America (since 1944!) as it is the most creative, intelligent, and magical production of The Nutcracker I have ever seen. Mr. Christensen is a master storyteller. Although we are all familiar with the skeletal frame based on E.T.A. Hoffmann’s tale that most ballet companies use to build upon, it is Ballet West’s adaptation that makes the most sense. What can often seem illogical leaps – as dolls coming to life, giant mice battling toy soldiers, and being whisked away to lands reigned by Snow Queens and Sugarplum Fairies tend to be – are artfully tied together by seamless transitions; ones that don’t jarringly skip from one scene to another but rather maintain consistency in both voice and choreographic integrity.

 

Speaking of choreography, it is most impressive how Christensen manages to keep the stage in perpetual motion. This is not to imply that there is always physical movement, as the moments of pause and suspension are just as breathtaking as those composed of flurries of bourrées (which, by the way, all the company dancers and guest children must be applauded for). There is truly a sense of art in motion as the ever-changing scenic compositions – whether for one dancer or sixteen – are aesthetically stunning and emotionally engaging, all while being technically challenging. All the second act divertissements are so unique conceptually and choreographically, so much so that even after over hundreds of combined personal performing, directing, and viewing experiences of The Nutcracker, it’s as if I had never seen it before. This would be a good moment to give an important shout-out to costume designer David Heuvel and the entire scenic design, lighting, and production teams for it is their efforts that truly create the magic. From pre-curtain on, there is a never a dull moment; quite the contrary, there is a continuous pulse in the air as the audience is simultaneously appreciating what they see and anticipating what surprise is to come next.

 

Ballet West is a beautiful ballet company, one that Artistic Director Adam Sklute is surely proud of. The professional standouts of the evening are Sayaka  Ohtaki as the Doll, Arolyn Williams as Mirlitons, Beckanne Sisk as the Sugar Plum Fairy, and the corps de ballet as Snowflakes and Flowers. All of these ladies perform with exceptional control of their technique, expression of their roles, and are simply a joy to watch – especially, the corps. Their glowing energy, precise musicality (in a series of emboîtés, one could hear in the audience the gloriously synchronous landings as their pointe shoes make contact with the floor), and impeccable execution of formations.

But it isn’t just the professionals that make this version of The Nutcracker a must-see. Almost 100 DMV students play the children’s roles including the most coveted part of Clara. Of the over 200 students who auditioned to be a part of this production, Makenzie Hymes is one of two selected to play this lead role. Ms. Hymes is lovely, showing such promise as both a dancer and actress. And Corbin Holloway is her perfect counterpart – he is fantastically mischievous as brother Fritz. Other local youth to note are the Arlington Children’s Chorus who accompany the magnificent Kennedy Center Opera House Orchestra in the iconic snow scene.

 

So if you don’t have any weekend plans yet, go see Ballet West’s The Nutcracker at The Kennedy Center where there are matinee and evening performances on both Saturday and Sunday. If you do have plans already, consider changing them – these are two of the happiest hours you will spend this holiday season.

 

Nutcracker Online Performances 2020

Featured Photo © Luke Isley, Ballet West in Willam Christensen’s The Nutcracker

Chinese Stereotypes in Ballet

It’s that time of the year when we start hearing Tchaikovsky’s music from The Nutcracker everywhere we go – in restaurants, in shops, and of course at the theatre. This holiday classic is ubiquitous during the Christmas season so much so that even those who are not frequenters of the ballet are familiar with the tunes. Perhaps not everyone knows that the waltzes they are hearing are associated with flurries of snow and fields of flowers, but most can identify the more cultural musical references that appear in the second act divertissements often reflecting Spanish, Arabian, Chinese, and Russian perceptions. As a Chinese American who has been a member of the ballet community for the majority of her life – student, professional dancer, teacher, choreographer, owner of a studio – I have always felt particularly sensitive about the Chinese stereotypes presented in The Nutcracker. And apparently I am not alone.

 

In fact, New York City Ballet soloist Georgina Pazcoguin and Phil Chan, an arts administrator and former dancer, are encouraging a social and artistic movement revolving around the issues related to the portrayal of Chinese culture on the ballet stage. Reading more about the “Final Bow for Yellowface” pledge is what inspired me to write this story; the courage and eloquence with which they present what is sensitive matter (many conversations of this nature tend to be) has helped me realize more clearly why I have been uncomfortable with the “Chinese” dance in The Nutcracker for all these years.

 

I learned that there is discussion to be had in order to inform people the difference between character and caricature – the first can be used to describe cultural features of an individual, a group, or an entire civilization while the latter is an exaggeration of (often) physical features usually in an effort to create a comedic effect. Therefore, when one uses make-up to paint the face yellow or create an almond-shaped, upward slanting eye shape, this is creating a caricature of a Chinese person rather than sharing anything substantial about the person. So imagine the confusion this caused my newly-hired 17 year-old self when I was cast in “Chinese” and wondered if I, too, needed to do any extra eye make-up as the rest of the cast did. Did I need to make myself more “Chinese”? I can now acknowledge that I felt a sense of shame about the way I looked due to my ancestry and am angry that I was in a situation that provoked it.

 

The homepage of the yellowface.org site proudly lists leaders in the dance world as well as those in the broader field of the arts who have already signed the pledge to

“love ballet as an art form, and acknowledge that to achieve a diversity amongst our artists, audiences, donors, students, volunteers, and staff, I am committed to eliminating outdated and offensive stereotypes of Asians (Yellowface) on our stages.”

At first I thought, “How wonderful!”; but my opinion changed when I counted less than two dozen names. To be fair, I suppose that Pazcoguin and Chan vet all the signatures and then determine who are to be considered “leaders”, but it’s still disappointing to think that there aren’t more influential folks who have wanted to associate their names with this effort.* I find the quote by Ballet West’s Artistic Director to be the most poignant and appreciate the fact that he felt so strongly as to view Willam Christensen’s choreography for “Chinese” insulting. In replacing the original choreography with that of Lew Christensen’s version, he expresses that “Hopefully what we have now is a much greater celebration of Chinese culture than the mockery it used to be.” 

 

Every season teaching The Nutcracker to my students, I dreaded having to set the “Chinese” variation. Demonstrating the subservient bowing of the upper body and head while shuffling with index fingers pointing upward filled me with shame and embarrassment. Of course the dancers knew that I, personally, didn’t carry myself in that manner, but was I inadvertently teaching them that this was the way of my ancestors? (For the record, my great grandparents walked with their chins up, shoulders down, and took strides with one foot in front of the other with their arms swinging at their sides.)

 

It is now more important than ever to maintain that balance of honoring history and tradition while evolving and moving forward as a human race. Dancers have a unique voice; we have the power to tell a story through movement and with that comes a responsibility to tell an accurate one. As a community we have made many headlines over the past few years regarding the significance of diversity in the classroom and on stage. We are making an effort to broaden the definition of “ballet dancer” so that the current and future generations feel no fear to dream as big as they can. We must each continue to use our voice to create more understanding in this beautiful mosaic we live in. 

Bringing Chinese Stereotypes to Forefront of Conversation

 

The homepage of the yellowface.org site proudly lists leaders in the dance world as well as those in the broader field of the arts who have already signed the pledge to

“love ballet as an art form, and acknowledge that to achieve a diversity amongst our artists, audiences, donors, students, volunteers, and staff, I am committed to eliminating outdated and offensive stereotypes of Asians (Yellowface) on our stages.”

At first I thought, “How wonderful!”; but my opinion changed when I counted less than two dozen names. To be fair, I suppose that Pazcoguin and Chan vet all the signatures and then determine who are to be considered “leaders”, but it’s still disappointing to think that there aren’t more influential folks who have wanted to associate their names with this effort.* I find the quote by Ballet West’s Artistic Director to be the most poignant and appreciate the fact that he felt so strongly as to view Willam Christensen’s choreography for “Chinese” insulting. In replacing the original choreography with that of Lew Christensen’s version, he expresses that “Hopefully what we have now is a much greater celebration of Chinese culture than the mockery it used to be.” This is definitely a step in the right direction to address the Chinese stereotypes often displayed.

 

Every season teaching The Nutcracker to my students, I dreaded having to set the “Chinese” variation. Demonstrating the subservient bowing of the upper body and head while shuffling with index fingers pointing upward filled me with shame and embarrassment. Of course the dancers knew that I, personally, didn’t carry myself in that manner, but was I inadvertently teaching them that this was the way of my ancestors? (For the record, my great grandparents walked with their chins up, shoulders down, and took strides with one foot in front of the other with their arms swinging at their sides.)

 

It is now more important than ever to maintain that balance of honoring history and tradition while evolving and moving forward as a human race. Dancers have a unique voice; we have the power to tell a story through movement and with that comes a responsibility to tell an accurate one. As a community we have made many headlines over the past few years regarding the significance of diversity in the classroom and on stage. We are making an effort to broaden the definition of “ballet dancer” so that the current and future generations feel no fear to dream as big as they can. We must each continue to use our voice to create more understanding in this beautiful mosaic we live in. 

Nutcracker Online Performances 2020

 

*Be assured that I, too, have pledged; thus this endeavor to spread the word by sharing a bit of my story with you.