Naturalism in magical realism: Ballet RI’s 2024 ‘The Nutcracker’

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The show opened with Herr Drosselmeyer (David DuBois) working away in his shop, trusty assistant by his side. Frothing beakers teased a “mad scientist” trope. Their comedic timing and presence set the tone for the program’s naturalistic theatricality. Backlit, we saw them behind a gorgeous winter wonderland tapestry (scenery by Peter Horne). Ballet RI’s scenic design is always a standout, including here – and one of the elements that built the realism at hand.

The production soon brought us to the Silberhaus’ holiday party, with a spot-on blend of opulence and more folksy, rustic charm. Bright-eyed Clara (Emma Gaines) had a sweet innocence right off the bat. Yet, there was a maturity to her movement quality and bearing, signalling that Gaines could truly be going places. Her brother Fritz (Miles Parmenter) had a boyish mischievousness that also felt just right. The children’s dances captured a spirit of spontaneous play and games, yet also a refined touch that aligned with all else before us.

That sense of play shone through the adult action as well, such as with Drosselmeyer bumping into a maid (Emma Halter) and then the two breaking right out into a duet. Further refinement came through the parents’ dance to come, with an understated quality that built sophistication. The Doll (Tara McCally) had a Buonaparte soldier feel, with a perfectly bouncy mechanical quality through fast footwork. Ballerina Doll’s (Nina Yoshida-Webster) pure sweetness came with clear continuity in movement quality.

Acting chops filled the stage the whole time; it almost felt like a play rather than a ballet, the onstage action was so intentional and organic. It’s all part of the magic that immerses us and brings us back to this story – for many, again and again and again. The magic for Clara soon led into sleep, however. An owl clock, with wings flapping up as the hour struck (another inventive design touch), alerted us that further action may soon come.

Drosselmeyer continued to pull magical strings, illuminating the tree and bringing the Nutcracker doll to life (Styles Dykes). In varied Nutcracker productions, there are different characters pulling those magical strings – perhaps the Snow Queen or the Sugar Plum Fairy. In this version, it was certainly Drosselmeyer. DuBois brought both gravitas and warmth to the role.

He was also there to protect and guide as the battle between the Nutcracker’s army and that of the Mouse King (Stephen Gunter) played out. More fresh design choices emerged: the Rat King’s horror film-esque nails, the soldiers’ holiday elf hats (costume concept and design by Judanna Lynn and Emerald City Theatrical). Reality and magic continued to meet and meld – as did humor; the Rat King flopped on Clara’s couch to perish (with more stellar comedic timing).

Snow Scene brought us somewhere wholly different: a winter wonderland even more ethereal than the streets around Clara’s home. Young dancers lit the way for Clara and the Prince with hand-held fairy lights (just as magical here as they were in the company’s Cinderella).

The snow scene pas de deux (with Alexandra Troianos as the Snow Queen and Luis Ocaranza as Snow King) offered more of that singular Nutcracker magic – a balm in a chaotic world, immersing us as lights dim and the stage snow falls (indeed, later coming right into the orchestra seats).

The Snow Corps’ movement was as awe-inspiring as ever, the ensemble delivering it at a soothing intersection of the crisp and sinewy. Their spiky ice crowns and costumes of ombre blues reflected the varied colors and textures in such a snowy, icy locale.

Act II brought us into another wintry fairytale realm, where we again met Clara and the Nutcracker. Angular white lanterns hanging on tree branches reminisced icicles. Angels, led by a trusty Lead Angel embodying purity and grace, greeted them. This variation, present in some Nutcracker versions and not in others, here added something traditional in the midst of many more modern touches. Balanced cohesion is the goal – one achieved here.

Sugar Plum Fairy (Ashley Griffin) acted as grand, mystical hostess, kicking off the variations to come. She moved with the soft punch and panache of a sprite. Chocolate (danced by Anjali Hern and Massiel Valderamma) was a female power pas de deux, with all the élan of the originating culture and score. Their layered dresses added entrancing dimensionality to that energy. Coffee, danced by Clay Murray and Hannah Wood, oozed sensuality. Accents enhanced culturally-specific movement, which was (seemingly) respectfully presented.

Speaking of cultural respect and fluency, a large dancing dragon brought us into Tea. The soloist (Corinne Mulcahy) also infused innumerable layers to her movement through a hand-held streamer, and a corps added further scope to the staging. Another soloist (Emma Guertin) danced the pastoral elegance of French Marzipan. She danced with the ease of a frolic in a spring meadow, not a care in the world. Two sheep soon joined her (Halter and Cameron Sedlack), which deepened the pastoral atmosphere.

The Polichinelles (with Joshua Tuason as Mother Ginger) enjoyed acrobatics galore, and then invited Clara and the Nutcracker into their fun. The latter then escorted Clara to sit, and joined Russian Trepak: a trio executing fully gravity-defying feats (also with Jackson Calhoun and Aj Maio). Seeing their heavy breathing as they bowed underscored for me just how athletic what they just did was, and their plain humanity as dancers.

The Waltz of the Flowers then exuded the playful refinement of a garden in full bloom. Varied formations, in all of their multiplicity, had a harmonious order. Dew Drop (Yoshida-Webster) danced with the beautiful carriage of a rose: with a supple softness, but also solid strength. The Sugar Plum Fairy returned to the stage, with her Cavalier (Garrett McNally). They partnered with a connection that felt exquisitely honest. In his time to shine, he moved with an ease and continuity grounded in raw power.

It’s always a special moment when the entire ensemble fills the stage, dancing in unison to a booming and ebullient score. For a final ending, Clara awoke to find her Nutcracker doll under her arm – Drosselmeyer having lovingly placed it there. The opening winter wonderland tapestry dropped before them. It all came full circle.

Life cycles and moves on. If we’re lucky, and open to it, magic graces us in the meantime. Thank you, Ballet RI, for the reminder of how reality and magic can meet…something we can all use in this stressful, but also enchanting, time of year.

By Kathryn Boland of Dance Informa.

Aj Maio, Anjali Hern, Ashley Griffin, Ballet RI, Cameron Sedlack, choreography, Clay Murray, Corinne Mulcahy, dance review, dance reviews, David DuBois, Emerald City Theatrical, Emma Gaines, Emma Guertin, Emma Halter, Garrett McNally, Hannah Wood, Jackson Calhoun, Joshua Tuason, Judanna Lynn, Massiel Valderamma, Miles Parmenter, Nina Yoshida-Webster, online dance review, online dance reviews, Peter Horne, review, Reviews, Stephen Gunter, Styles Dykes, Tara McCally, Veterans Memorial Auditorium