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Review 1, 12-30: Nouvelle Noix
Tulsa Revises a Christmas Classic, a la mode Parisian
By Alicia Chesser
Copyright 2003 Alicia Chesser
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TULSA -- Most ballet
fans, it's probably safe to say, like their "Nutcracker" like they
like their Santa: familiar. Some of us, thank you, prefer it downright
hoary. Newfangled 'Nut's are fine for the Mark Morrises of the world,
but when December comes around, what we really want is the Ivanov
& Petipa / Fritz & Clara / Sugarplum Fairy fruitcake. It's awfully
disconcerting, then, to hear that a beloved old production has been
given an "update" -- the very news announced by my alma mater, Tulsa
Ballet, earlier this year. What would it be? A William Forsythe
tribute with unitards and techno-remixed Tchaikovsky? An East Village
version with the Prince in a trucker hat and the mice reworked as
cockroaches? Or worse, an "Oklahoma" spin-off with square dancers
and cowhands?
Marcello Angelini, Tulsa
Ballet's director since 1995, is not so rash as that. The "Nutcracker"
that the company's founders, Ballet Russe de Monte Carlo stars Roman
Jasinski and Moscelyne Larkin, created over 30 years ago was one
of the most traditional versions performed in the United States,
with choreography that closely followed Ivanov and sets and costumes
that evoked the most primal German-Christmas-party / Kingdom-of-the-Sweets
fantasy, all ruffles 'round the neck and pink spun sugar. When the
company's board called for something to be done about the impossible-to-patch-anymore
backdrops and dresses, Angelini's first thought was charmingly imaginative:
to change the scenery altogether in tribute to his new home, setting
the ballet in Tulsa in the 1920s, when the city was emerging as
the world's oil capital and a center of Art Deco design. In the
end, he landed it in 1920s Paris -- which saw its first production
of "The Nutcracker" in the 1920s, and which had been the birthplace
of the Art Deco movement -- thus preserving the tie to Tulsa while
assuring a maximum of glamour.
Glamour was a priority,
and not just because of the dinginess of the old production. In
an interview with the Knoxville News Sentinel, Angelini noted that
because of the widespread success of touring productions of big
Broadway musicals, audiences nationwide "have become more sophisticated.
Now they expect the same kind of visuals when they see a ballet,
and that's what we are trying to do." Intrigued by Angelini's ideas,
his friend the renowned Italian costumer Luisa Spinatelli (who most
recently designed the costumes for the Royal Ballet's new "Sleeping
Beauty") and set designer Paolino Libralato agreed to help Angelini
bring his vision to the stage, even though Tulsa Ballet could not
hope to match their usual fees.
With Angelini's new
concept for the scenography came new ideas for the story. He wanted
to emphasize an element of the original "Nutcracker" story by E.
T. A. Hoffman that often gets lost amid the snowflakes and candy
canes: romance. The new "Nutcracker" would be about a little girl's
dreams of dancing and of love -- thus appealing not just to the
tykes in the audience but to their parents as well. In the new version,
the Prince, Charles, is the star of the Paris Opera Ballet, and
Drosselmeier is his uncle (and the Paris Opera's director). The
opening scene takes place in the ballet studio, with little Marie,
also known as Clara in some productions, as the star pupil, infatuated
with Charles, who is rehearsing with his partner; we then move to
the Palais Garnier's foyer for an elegant Christmas party, during
which Drosselmeier announces plans for the company to premiere "The
Nutcracker." He describes the story of the Nutcracker Prince as
Charles, his partner, and a dancer playing the Mouse King demonstrate.
Drosselmeier, seeing how Marie is entranced by the new ballet, gives
her his model Nutcracker doll, and as the adults leave and her parents
stop to discuss her progress with the ballet master, she is left
behind, asleep.
The second act's plot
is less heavily revised. Marie awakens to find herself embroiled
in a battle between the Nutcracker and the Mouse King; she helps
defeat the mouse army, then is transformed into a beautiful young
woman before seeing the Nutcracker transformed, as well, into a
Prince. The snow scene, a love duet between Marie and Charles in
the Garden of Versailles, concludes with the arrival of a Rolls
Royce, which whisks them off to Charles's castle where, greeted
by paparazzi, the two lovers enjoy a celebration of their engagement.
Gifts arrive in the form of dances performed by famous dancers from
all over the world; the "Waltz of the Flowers" features bridesmaids
and their courtiers; the pas de deux is a declaration of the lovers'
affection. As Marie wakes up from her dream at the ballet's end,
she sees the real Charles crossing the room to pick up his coat,
which he had forgotten, and they exchange a long glance as if, perhaps,
they had once been in love.
This "Nutcracker" is
Angelini's first foray into choreographing an evening-length ballet.
What is sometimes the case with first novels turns out to be the
case (in this case, at least) also with first ballets: the idea,
powerful though it may be, fails to materialize in full on the page
(or the stage). My account of the plot in the previous two paragraphs
was paraphrased from the page-long summary in the program and from
an even longer one in a "Nutcracker" preview featured in a local
magazine. There is no way I could have reconstructed it in such
detail from what happened on the stage. Though the sets and costumes
beautifully evoke the different settings of the ballet's scenes
-- the ballet studio, the Garnier foyer, Versailles, a grand ballroom
-- the transitions within scenes and from one scene to another are
far from clear.
The fault lies in largest
part with the over-involved story. For example, Act One, Scene One
offers not only the suggestion of Marie's infatuation with Charles,
but a subplot involving the other students' jealousy of the gifted
Marie, and a sub-subplot involving the ballet mistress (infatuated
with Drosselmeier) and the pianist (infatuated with the ballet mistress).
The scene concludes with an overlong slapstick dance between the
pianist and ballet mistress, after which the stage goes black and
we are abruptly in the midst of the Scene Two party. Simply from
looking at the stage action, one would be hard pressed to figure
out how the girls from the ballet class have ended up in a glittering
hall with a dozen men and women (company dancers? the girls' parents?
random flappers?) in evening dress -- much less to figure out that
the purpose of the party is the announcement of the Paris Opera
Ballet premiere of "The Nutcracker," or that Drosselmeier gives
Marie the Nutcracker doll because he sees that she is dreaming of
one day performing in the ballet. Such facts are suggested, but
so quickly that they barely register. The libretto is more elaborate
than the choreography can handle; many times, it neither shows nor
tells. Put simply, the ballet could use an edit. On these and several
other occasions, narrative progress is imposed rather than developed,
and the audience is left in the lurch.
The lurch isn't as bothersome
as it might be, however, because of the magnificence of the costumes
and sets and the winsomeness of the Tulsa Ballet dancers. The ballet
is a swift 90 minutes, so one has little time to dwell on incongruities.
I found myself swept along past the moments of "wait, what's happening?"
by the sheer beauty of the stage design; anecdotal evidence suggests
that many other audience members did, too. Libralato's sets are
stunning backdrops, painted in warm blues and golds with a dreamlike
haze about them. The Palais Garnier foyer is "Vienna Waltzes"-esque
with its mirrors-upon-mirrors and burning chandelier. The drop for
the castle's exterior is done in exaggerated vertical perspective;
it looks two hundred stories tall. Spinatelli's costumes are no
less spectacular: luscious '20s gowns in dark velvet and lace and
glinting rhinestones, fur muffs and cloche hats for the women, shiny
pastel drop-waist dresses for the little girls. The mice in the
Mouse King's army are dangerously dapper in yellow vests and black
tights; four women in black merry widows comprise the King's entourage,
while he himself is sleek in slim black velvet. The "flowers" in
the second act waltz arrive like flappers in spangly pink and silver,
their skirts like strips of confetti. It's a delicious spectacle,
a truffle for the eye.
The dancers, too, are
pure pleasure, their style buoyant and unforced. They come from
all over the U.S. -- the Boston, Louisville, San Francisco, and
Pacific Northwest ballet companies -- and all over the world --
China, Prague, Peru, and Madrid. For all that diversity, they are
remarkably unified in style and skill. The company's ballerina,
Daniela Buson, has an alluring reserve about her dancing. The men,
notably Ma Cong (the Mouse King and an air-splitting "Russian")
and Alfonso Martin (Charles), are particularly good, bold and smooth
at once. The company had a thriving school once upon a time, from
which it drew many of its dancers; only one of those alumni is left,
and that school has faded. Happily, the company has started a new
one, the Tulsa Ballet Center for Dance Education, and one hopes
that many of the children who performed in this "Nutcracker" will
be seen in Tulsa for years to come. They have excellent models in
their elders.
But fine scenic design
and fine dancers can do only so much work in a production. There
is quite a lot of movement in Angelini's "Nutcracker," but it often
seems thrown together. Particularly in the several pas de deux,
the only dimension is sweep. That's understandable in the Snow scene
-- snow comes in flurries, after all, and the choreography there
has a pleasant ice-dancing quality -- but in Act Two such mono-dimensionality
is tiring.
It's bad enough that
the famous Sugarplum Fairy solo (the one done to the celesta) is
a) almost completely revised into a series of gentle swirls and
b) moved up to the beginning of Act Two, just after Charles and
Marie arrive at the castle. (This seems meant to emphasize the solo
as Marie's "introduction" to the guests, and perhaps a meditation
on how happy she is to be there.) Not only does this leave an endless
stretch of waltzes and duets and farewells after the national dances,
it also takes a central column out of the magnificent architecture
that was the Grand Pas de Deux. The traditional pas is a sonnet,
its several stanzas building and building on each other, its conclusion
a ravishing release. Violette Verdy has described it -- with its
tentative approaches, its delicate steps gradually sparking into
huge leaps to the shoulder -- as an allegory of a young woman's
growth into womanhood. Angelini's pas is merely a love duet, after
the fashion of Stanton Welch (whose works have begun to appear in
the Tulsa Ballet repertory), which tells us simply that Charles
and Marie feel for each other in a way that makes them hang around
each other's necks. We are already supposed to know that Marie has
become a woman (after all, we saw her transform before our eyes
in front of a full-length mirror). Why belabor the point? I really
believe that what is lost in the loss of that old pas de deux is
something more than just old choreography. It's a certain sort of
dance imagination.
When it is up
to the task, Angelini's choreography works wonderfully. An Act One
dance for the young girls -- a basic ballet-class combination --
is beautifully matched to their age. Charles's entrance at the party
is a riot of classical conventions; clearly, you think, this is
the star, the prince, the hero! The adults' dance in the same scene
crackles with angular poses and on-the-bias patterns that echo the
Deco decor. In some places, Angelini has preserved elements of the
original choreography; in others, he brings in steps he introduced
earlier, which makes for a pleasantly dreamlike sense of deja vu.
The "Arabian" dance in Act Two is perhaps the finest achievement,
with the sinuous Tara Hench passed from hand to hand among three
men, touching the ground only to caress it with her toes.
With his eye for design,
Angelini does very well at ensembles; his solos and duets leave
less of an impression. This "Nutcracker" is very much a "design"
production; its values, as he hoped, are those of Broadway. Ballet
values -- the sort that make a pas de deux tell a complex story,
for example -- are something different. But Angelini's "Nutcracker"
doesn't set out to be Ivanov Revisited. It succeeds in many ways
at what it attempts, which is actually quite a lot. The costumes
and sets are masterpieces; the libretto, though it needs some trimming
and clarification, is ingenious. Most of all, the sense of Marie's
"dream" as one of all-conquering love is very strong throughout
the ballet, especially when, in the final moment, Charles removes
his hat as he gazes at the little girl. I miss much of the old choreography,
but the new elements Angelini has introduced are both intriguing
and endearing.
It should be mentioned
that Tulsa, hard-hit by the recession, lost its beloved symphony
orchestra a little more than a year ago. What has emerged to take
the place of the much-missed Philharmonic is something called the
Signature Symphony, which is doing yeoman's work all over town to
provide live music for many sorts of productions. Tulsa Ballet showed
tremendous confidence and faith to stage an entirely new production
of "The Nutcracker" (with the Signature Symphony in the pit, of
course!) in such a difficult economy. But boldness like this can
raise the spirits of entire communities -- which, judging from the
reaction of the man on the street, is precisely what this new "Nutcracker"
has done.
Alicia Chesser (formerly Mosier) has written for the Dance Insider
since 2000.
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