International choreographer Christopher Wheeldon reimagined the dance with a story by Brian Selznick. This ballet takes place in one of the most important periods in Chicago history. Although the new place and era are changed, the ballet still follows the tale of the early Hoffman version.
Still the Nutcracker
While the earlier fantasy, written in 1816, focused on a young girl whose favorite Christmas toy comes to miraculous life in a well-to-do Victorian household, the Wheeldon ballet places it in 1892, just before the 1893 Columbian Exposition at the Chicago World’s Fair.The exhibition celebrated the 400th anniversary of Columbus’s discovery of America. Setting the ballet in this period offers a fascinating bit of nostalgia. In 1892, productive achievements and creative inventions were considered a triumphant advancement of civilization. American ingenuity and innovation were celebrated. The Fair showcased Edison’s kinetoscope, the zipper, the vacuum cleaner, and the Ferris Wheel, as well as Quaker Oats products, Aunt Jemima pancake batter, and Juicy Fruit Gum. It was an exhilarating event that proclaimed the power of a free-enterprise America. The nation was looking forward with patriotic pride to the 20th century.
The Chicago World’s Fair also proved that the city had overcome the great 1871 fire that devastated most of it. Chicago was poised to become one of the most forward-moving, exciting metropolises in the world. Add to that optimistic era, one of Tchaikovsky’s most delicious musical scores and the result is an enchanting adventure.
The Production
With a masterful touch, artistic director Ashley Wheater has staged a dazzling “Nutcracker” that will entrance audiences of all ages. Set against projections by Ben Pearcy of white-plaster buildings, waterways, and grand pavilions, with golden lighting by Natasha Katz, and lush costuming by Julian Crouch, the story begins on Christmas Eve.
In anticipation of Christmas, tradesmen are taking an evening off from building the architectural structures of The White City. One artist (Jeraldine Mendoza) is sculpting a statue of the Republic that will greet visitors as they enter the fairgrounds.
As the Christmas feast is being prepared, the workmen start to dance, but are soon interrupted by a mysterious man in a black top hat and a red cape. He is the Great Impresario (Dylan Gutierrez), a larger-than-life character with magical powers. He’s the replacement for the magician uncle of the Hoffman “Nutcracker.” He gifts the sculptress’s daughter, Marie (Yumi Kanazawa), with a nutcracker doll.
His magical talent beguiles all when he lifts his arms to transform a poor little tree into a towering evergreen that unfolds across the stage.
As Marie sleeps, she dreams that her small nutcracker has turned into a real-life prince (Alberto Velazquez) who fights for her in a battle against the Rat King (Stefan Goncalvez) and his army of rats.
In addition to the production’s beautiful imagery, the talented Joffrey Ballet dancers sweep across the stage with riveting elegance and athleticism. The dancers swap parts in different performances so that one ballerina may play the sculptress in one performance and Marie in another.
Everything in this “Nutcracker” works in prefect harmony with Tchaikovsky’s enchanting music. Other delights include the fabulous gigantic Christmas Tree projection by Ben Pearcy/59 Productions, the fanciful puppetry by Basil Twist, and the exemplary Lyric Opera Orchestra, wonderfully conducted by Joffrey’s music director, Scott Speck.
Not only is this an enthralling production and a feast for the senses, but this gem of a “Nutcracker,” with its focus on the importance of friends, family, and tradition, also captures the joy of the Christmas season. It will have sugar plums dancing in one’s head long after the curtain comes down.
