There is no better way to get in the holiday spirit than with the classic Christmas ballet, the Nutcracker. Twenty-eight years after Robert Joffrey’s original production, this is the final year that the Joffrey Ballet will perform this Nutcracker (2016 brings us the world premier of Christopher Wheeldon’s Nutcracker!). Even decades since artistic director Ashley Wheater performed in the opening night of the production, this performance retains the timeless magic of this joyous holiday tradition.
For those unfamiliar, the show takes place on Christmas Eve in the 1850s, opening with a party at the house of the mayor, his wife and his two children, Clara and Fritz. In the midst of the lively party Drosselmeyer, the somewhat eccentric godfather to Clara and Fritz, sprinkles in some excitement to the festivities with enchanted life-size dolls that dance and entertain the guests. However, it is his gift of a nutcracker for Clara, which truly ignites the magic.
After the guests have left and the family has gone to bed, Clara sneaks downstairs to gaze upon her beloved Nutcracker. She soon finds herself in the middle of a battle between the Mouse King and his army of mice and the Nutcracker, who comes to life to fight with his band of toy soldiers. With the toss of a shoe, Clara knocks down the Mouse King saving the Nutcrackers life and as means of a thank you, he takes her through the Land of Snow to the Kingdom of Sweets where the many toys from under Clara’s tree come to life in enjoyable and fantastic dances.
Joffrey’s Nutcracker downplays the traditional romance between Clara and the Nutcracker prince, fortifying the role of Drosselmeyer as the catalyst and guide of Clara’s journey to the Kingdom of Sweets. Performed by Michael Smith, Drosselmeyer is a technically strong role but at times, it felt overpowering for my taste, making the role of Clara more infantile and taking away from the romance between Clara and the Nutcracker Prince.
Another split from tradition was the introduction of male dancers into the Land of Snow and Waltz of the Flowers scenes, however these deviations I found truly fantastic. The combination of beautiful partnering, endless falling snow and the graceful choreography expertly performed by the snowflakes (ladies) and snow winds (men) transports the audience on their mystical journey with Clara through the land of snow. In the Waltz of the Flowers in the second act, again the partnering added an interesting dimension, as did the constant tossing of fluttering flower petals beautifully worked into the choreography.
Overall, the dancers exhibited a wonderful balance of grace and precision creating flowing lines that perfectly complimented the Tchaikovsky score. The company members were fantastic, performing in perfect unison with a look of joy on their face making everything look effortless as a good ballet should. There were many young performers in the show as well who steal the scene with their cuteness! In the Kingdom of Sweets, each piece was accompanied by a tiny tot dressed in character sitting with Clara to watch the dance unfold. As someone who performed in the Nutcracker a number of times as a kid, I enjoyed this element of the show, as I am sure every aspiring ballerina in the audience did as well.
My favorite pieces by far were the Coffee from Arabia pas de deux, where Dara Holmes captivated us with her flexibility and elegant lines and the Grand Pas De Deux by the Sugar Plum Fairy and the Nutcracker Prince. Instantly entranced by the sparkle of the Sugar Plum Fairy costume, I was continually captivated as Amanda Assucena and Alberto Velasquez brilliantly performed the most iconic piece from the show.
The Nutcracker runs at the Auditorium Theater through December 27th. Buy your tickets now! Take your children, take your parents, take your date or take them all for a magical performance that will truly put you in the holiday spirit.
Use the bathroom before you take your seat at Theater Wit for Joe Mantello’s stage adaptation of David Sedaris’ now-classic holiday essay, Santaland Diaries. Trust me. The show runs one hour 20 minutes without an intermission.
But more to the point, you will laugh your jingle bells off!
Mitchell Fain tears down the fourth wall as “Crumpet,” a dishy, disgruntled, forty-four-year-old elf at Macy’s department store. Dressed in stripy tights and crushed velvet, he deftly channels Sedaris’ wry, acerbic wit and gives us an all-access pass into the underbelly of the North Pole.
Directed by Jeremy Wechsler and performed in the intimate theatre space of Theatre Wit, Fain stars as Crumpet and flawlessly delivers a seventy-five minute monologue that is dark, witty and often will have audience members doubling-over with laughter. Fain's performance is deliciously wicked whether spouting off hysterical dialogue or improvising with the audience in his own, unique and devilish way. Fain is able to get his point across with the tiniest gesture or most subtle facial expression.
Now returning for over five years straight, Santaland Diaries has become a true Chicago holiday tradition. However, due to its mature content, the show is not recommended for kids, though it will be sure to please the adult crowd.
If you’ve ever wondered what your mall Santa and his elves are really thinking, see Santaland Diaries at Theater Wit until December 30, 2015. A must see, you can order tickets online at https://www.theaterwit.org/plays/santaland/.
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