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Austin360 blogs > Austin Arts: Seeing Things > Archives > 2009 > December > 07 > Entry
Review: Ballet Austin’s ‘The Nutcracker’
The swish of taffeta dresses heard in early December can only mean one thing: it’s time for Ballet Austin’s “Nutcracker” again.
At the Long Center Sunday afternoon, the patent leather shoe-wearing children were in full effect. Although the “Nutcracker” matinee’s audience demographic suggests the show targets children, the company’s performance attests there are many reasons for balletomanes of all ages to revisit the holiday classic.
This year marks the company’s second “Nutcracker” run in the Long Center, and the theatre’s size allows for the celebration of “Nutcracker’s” full spectacle.
The set, designed by Richard Isackes, creates opulent worlds for ballet dreaming, both in the early first act party scene at the Silberhaus’s home and in the second act’s Kingdom of the Sweets. Many of designer Tommy Bourgeois’s costumes, particularly the party dresses for adult and children and the many tutus of the second act, accentuate the production’s sense of luxury. It’s nice to see that Ballet Austin avoids the “Nutcracker” ballet trap: often the classic veers towards looking run-down and re-hashed. Ballet Austin’s production sparkles.
Much of the dancing, particularly from the company’s women, extended the production’s clear, open feeling. As Snow Queen, Jaime Lynn Witts had a calm dignity. Kirby Wallis’s flash in the Spanish variation and Rebecca Johnson’s sleek Arabian were second-act standouts.
With so many solos and pas de deux, ensemble performances can go overlooked in “Nutcracker,” but the corps dancers in Snow and Waltz of the Flowers deserve recognition. In Snow, dancer Beth Terwilleger seemed a strong, sure leader among a flurry of beauty.
While Stephen Mill’s choreography does not always follow the swells in Tchaikovsky’s iconic score, Mills excels at creating smaller moments of suspension, from the more staid dances done by the parents in the party scene through the delicate variation for the French couple (Terwilleger and one of the company’s most promising recent additions Joseph Hernandez).
As Sugar Plum Fairy, Michelle Thompson made the most of Mill’s signature timing, opening her arms with a slow grace in the Grand Pas de Deux’s final turns. As Sugar Plum Cavalier, Frank Shott, yet again, proved himself the company’s strongest, most confident partner, a quality too often absent in other moments in Sunday’s performance.
While the adults might have been the focus Sunday, the cast’s children are integral to the annual “Nutcracker” event. As Clara, Macrina Butler displayed lovely shoulder and head placement, creating a central character worthy of center stage.
Like Clara, we all deserve a “Nutcracker” this year.
‘The Nutcracker’
7:30 p.m. Dec. 11-12, Dec. 18-22; 2 p.m. Dec. 13, Dec. 19-20, Dec. 23
Long Center, 701 W. Riverside Dr.
$15-$71
www.balletaustin.org
Clare Croft is an American-Statesman freelance arts critic.
Photo by Amitava Sarkar.
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