Review: Refined and nuanced Nutcracker perfect for these trying times

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The Alberta Ballet continued its annual two-city performances of Tchaikovsky’s Nutcracker, to a refined and much-loved choreography by Edmund Stripe this past weekend. It was a nostalgic experience to be back for another year to see this beautiful, historically steeped nutcracker, complete with a reproduction of Tchaikovsky’s living room for the living room scenes from Act I and a Russian street backdrop with a cathedral Orthodox in the distance, familiar period art that we love and expect on stage for the past decade.

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But it was also a reminder that this Nutcracker flies in the opposite direction from the special Nutcracker holiday “department store” that we also associated with the Christmas season (never Lev Ivanov or Tchaikovsky’s intention when they created the ballet). Such large-scale extravagances are more commonly seen at the National Ballet, the San Francisco Ballet, the Royal Ballet in Covent Garden, and many others which have recently gained in popularity.

I prefer Stripe’s refined choreography and hassle-free approach to the work, as well as his carefully nuanced understanding of classical French-inspired ballet, happily married with Russian sensibility.

But when I attended the performance on Friday, the evening had an unintended side effect. Here is an intimate ballet suddenly representative of our COVID era, both a melancholy reflection of what it was like to dance and laugh together, or just to interact socially, which now felt like being seen through. the prism of an era long gone, making me feel like Stripe’s current version of The Nutcracker was as much for our time as it was wishful thinking that we will one day return to meet the most basic charitable need to be social with each other.

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With many cut dances, including the stereotypical coffee and tea acts, the evening still contained much of the best of The Nutcracker, all well danced by soloists, performers from the Alberta Ballet and the Alberta Ballet School. Whether it’s Mariko Kondo and Yoshiya Sakurai in their charming Sugar Plum Fairy duo and their too brief but still resplendent solos, or the ensemble pieces from both acts, especially all the ballroom dances that I found perfect, this it was a smooth night with no slippage or nerves on the part of those on stage – a nice comeback. Also, when you go, check out Alan Ma’s wonderful Nikolai and in Act II a delightfully danced “Chocolate” (Heather Dornian and Kelley McKinlay).

The orchestra’s small size kept its chamber staff at 29 plus conductor Peter Dala, the same number as in 2019. It took very little time for them to adjust to the reduced textures and Tchaikovsky’s lush score of harmonies and various instruments throughout Act I. Best of all, the winds compensated well in their balance with the strings, making the most of a situation where normally the orchestra would be twice bigger. But each dance was perfectly conducted and nuanced for an all-night performance, making it easier for the dancers than when they had to perform Swan Lake on a recording. The advantage of using a live orchestra is that any dancer can adjust to Peter Dala’s thoughtful and most comfortable tempos on stage, making him a Nutcracker of considerable calm and ease. to watch.

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It certainly helps, as always, that the cast is once again great. Sayuri Nakanii’s Klara established direct contact with her audience at all times while leaving out the typical innocence associated with conventional portrayals of her 12-year-old character. She was a more mature Klara, ready to become royalty for a day in the Sugar Plum fairy’s dreamland.

And her Nutcracker doll that transforms into Karl was beautifully portrayed in every way by Scotto Hamed-Ramos, who has become a life-size soldier, an utterly believable human.

The public is still in love with Alexandra Gibson’s Tsarina, sparkling against a backdrop of snow and sleigh, accompanied by two magical wolves.

On the Act I party, I enjoyed the bliss of Garrett Groat’s Drosselmeyer, who was welcoming but not in the least grim, someone who only performed the best party magic, especially in a scene. very convincing hypnosis. Eli Barnes’ grandfather was gruff, grand, comedic, and one of the best parts of the entire living room scene. The audience certainly loved it, but while Kale Lazarick’s Rat Doll / Rat Tzar gave us a nice stage presence, it was Lazarick and Barnes together who gave one of the best highlights of the night with a jovial Act II Trepak.

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Unfortunately, rats were not played by children under 12 due to mandatory hearings open to those 12 and over who could be vaccinated. There have been some excellent rodents over the years from the age of eight, and I missed that delicious kinetic high that always added an endearing touch to these performances.

Still, the rest of the cast of the ensemble has filled out well, including assorted guests, snowflakes, rats and cavalry, each role brilliantly performed by the performers of the Alberta Ballet and the Alberta Ballet School. Congratulations to the eight pairs of young dancers who gave the show stage the much-needed energy. But equally important were the Flowers and the Flower Riders of Act II who brought essential grace and elegance to their waltz in the fantastic and magical kingdom of the Tsarina.

Overall, the effort to prepare for the production, including a lot of rehearsals and preparation as is customary to make the dance look as simple as possible, was certainly well appreciated by a hungry audience. ‘A Custom Nutcracker for Our Time, a COVID -a period ballet that reminded us of our past and made us wish for more in an uncertain future.