Rosecliff Mansion, Newport, RI.
November 23, 2022.
We so usually affiliate The Nutcracker with an entire lot of pomp and circumstance: blizzards of artificial snow falling from the rafters, vibrant vacation lights all throughout the proscenium, opulent classical costumes within the highest of finery. Yet, what if this story was introduced in a extra quotidian aesthetic, with out dropping the sense of fantasy and magic at hand? What would possibly occur then? Island Moving Company (IMC) answered that query for me in its 2022 Newport Nutcracker at Rosecliff (the corporate’s 21st annual).
While the spirit of vacation and magic and cheer was nonetheless very a lot alive, the aesthetic was one in all “less is more”, no less than as in comparison with previous years of the Rosecliff vacation custom. Performers provided a quiet softness of their dancing as properly — the aesthetic and the kinesthetic then coming collectively cohesively. A presentation grounded in additional realism and bodily ease jogged my memory that sure, magic may be attainable on this very world.
As typical, IMC’s Nutcracker started on the grand staircase – the Oelrichs (Clara’s) household welcoming visitors into their vacation get together. Performers and viewers members quickly moved right into a grand ballroom, for present exchanges and dancing. The younger ladies toying with the current packing containers, them playfully stealing away with Drosselmeier’s (Gregory Tyndall) hat. Little theatrical moments like these, humorous and genuine, enhanced the sense of verisimilitude at hand. Seeing that IMC’s model portrays a household that basically lived, and lived within the very mansion the place the present is introduced, such realism was all of the extra becoming.
The magic would emerge earlier than lengthy, nonetheless; Winter Fairy (Isabelle Ramage) danced into the ballroom and, entranced, Tess (IMC’s Clara, danced by Nicole Murray) caught a glimpse of her. Through such selections, IMC at all times brings the fantasy and the realism of the Nutcracker story nose to nose. It’s a riveting mix that’s attribute of The Nutcracker extra broadly – one which’s additionally a part of what’s made it a such a widely-presented, widely-loved vacation custom.
On the realism facet, the ballroom felt much less lavishly adorned than in previous years – simply sufficient to really feel welcoming, cozy and pleasing. The dancers met that minimalism with their motion high quality: assured, sturdy and clear, however not overdoing a factor. Tyndall added energy and magnificence to Drosselmeier’s thriller. In the following room, with extra present exchanges, Lauren Difede added simply the correct of sweetness and ease to Ballerina Doll’s robotic motion. Edgardo Torres Estremera equally hit Soldier Doll’s stiff, but pliable motion high quality good.
Not all of Drosselmeier’s presents have been so grand and fantastical; he gave the little ladies small dolls, which they cradled lovingly. Tess’s sister simply wanted to play together with her sister’s Nutcracker, nonetheless – pulling at it till it broke. The manner the adults scolded her (each dad and mom and Drosselmeier) added extra lifelike dramatic prospers to this system. Such constructing of the story led into the assault of the Mice, Rats and Rat Queen. Deanna Gerde, dancing the Rat Queen, successfully used her lengthy strains to construct the character’s considerably cryptic really feel.
Tess was proper within the warmth of the battle between the Soldier Dolls and rodents – but her Nutcracker doll coming to life because the Nutcracker Prince (additionally Tyndall) might supply her some solace. The fantasy at hand continued with the Winter Fairy returning, main Tess right into a magical land of snow falling throughout (and likewise main us viewers members again into the ballroom). Even with such magic throughout, the aesthetic remained pleasantly understated. I might imagine it as any on a regular basis snowy fringe of a forest.
The Snow ensemble introduced the part’s typical effervescence, the motion high quality however aligning with that nice understatement of the world round them. Circular motions, blended with extra linear shapes and pathways, introduced the sense of snow blowing in a gust. Brooke DiFrancesco and Timur Kan danced the Snow Pas De Deux with a chic serenity that hit simply the proper tone for the ambiance at hand. Everything feeling so lifelike, even when fantasy was absolutely alive and properly right here, had me all the best way invested in Tess’s journey into the Land of the Sweets.
Act II opened with the Sugarplum Attendants, with gentle and lifted motion – and formation shifts simply as gentle and easeful. The Sugarplum Fairy quickly entered, shifting with ease but full precision in musicality, strains and épaulement. Chocolate, danced by Kelly Moeller Rabe and Tyndall, and was exact but additionally stuffed with vivacious abandon. At the identical time, these dancers additionally moved in a manner that was cohesive with the elegantly understated ambiance of the general program.
Emily Baker and Athena Flournoy danced Coffee, providing the silky thriller that always makes this variation fairly intriguing. They regularly danced in shut proximity – when mixed with the serpentine shapes of their hand-held materials, formations that made multifaceted shaping by means of the area. Swirls with the streamers reminisced cream swirling by means of espresso earlier than stirred. That shaping wasn’t so advanced as to lose readability, nonetheless. Less may be extra, as this program general demonstrated.
Tea was spritely and candy, with soloist Jenna Torgeson executing beautiful ballon (carry) by means of fast excursions and jumps. A corps held blue balls reminiscing lamps usually used round Chinese New Year — genuine, culturally delicate and pleasing aesthetically.
Lauren Difede, Brooke DiFrancesco and Torres Estremera danced Candy Canes. Having a gaggle of three (two ballerinas and one danseur) allowed for satisfying formations — Estremera lifting one of many ballerinas whereas one other danced shut by, shifting right into a triangle formation going through the viewers, for instance. In that theme of much less is extra, if structured properly a smaller group can typically supply one thing extra satisfying – extra digestible, extra approachable, extra intimately human – than the largest ensemble ever might.
Trepak got here with Timur’s Kan energy and finesse-filled leaps, additionally stuffed with genuine pleasure. The corps accompanying him, with comparable joyfulness and finesse, helped fill the stage behind him with simply as a lot vibrancy. Tarantella, from Mother Ginger (Mary Van Pely to 2 sections of the corps, provided dynamism in spades – however all within the measured really feel of the general manufacturing. With a lot sweetness and enjoyable, the group ate it up, clapping notably louder than for different variations, as fantastic as these all have been (and a few viewers members even audibly cheering, as properly!).
Moving into Waltz of the Flowers, Deanne Gerde was understated and gentle – hitting the texture of the general program to a proverbial “T”. It felt like not overdoing something really helped her to realize a transparent, but nonetheless sturdy and full of life, high quality — nothing superfluous, nothing ostentatious. The corps of Flowers carried out motion, and danced by means of formations, that felt round but curvaceous – like the perimeters of flower beds or the sleek bells of rose heads. Tess additionally danced with them – a kind of nuances and selections that may maintain The Nutcracker recent and thrilling 12 months to 12 months, from firm to firm.
Grand Pas de Deux, danced by Margot Aknin and Benjamin Rabe, introduced its typical magnificence and ethereal magnificence — as solely becoming on this program, nonetheless, with out something garish. There was no want for an “attack” of the motion. Rabe and Aknin additionally labored fairly properly collectively, partnering with cohesion and concord. That’s how the magic can really come by means of.
The finale, bringing again all the residents of the Land of the Sweets to bop with Tess, provided a vibrantly full stage. That was one thing particular to expertise after the worst of COVID, so many our bodies shifting collectively in full well being and life. From there got here time for Tess to say goodbye. Many Nutcracker productions will do their very own spin on that ending, as a technique to supply one thing distinctive to their manufacturing – and typically even from 12 months to 12 months.
This manufacturing’s ending was no exception; Tess, holding the Nutcracker excessive, ran offstage and the lights lowered. This was a simple selection: simply digestible, efficient. Yet, it additionally provided thriller, with many alternative interpretations very attainable and legitimate. How a lot in the actual world and the way a lot within the fantastical one was Tess, and would she be? That might be a stunning query for viewers members to hold away with them, out of Rosecliff and again into vacation frenzy.
In a contemporary world that feels so unsure, and sometimes chaotic, typically simple and lifelike is what we’d like. Yet, some sprinkles of magic also can add some spring to our steps and widen our smiles – sparking our souls out of our on a regular basis routines. That’s the magic of the vacations — very actual, but in addition stuffed with needs, creativeness and fantasy. Thank you to IMC for a Newport Nutcracker at Rosecliff that hit such a notice good.
By Kathryn Boland of Dance Informa.
