|New York Theatre Ballet
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|Author:||Francis Timlin [ Mon Dec 02, 2013 2:54 pm ]|
|Post subject:||New York Theatre Ballet|
In the Huffington Post, Carla Escoda previews Keith Michael's "The Nutcracker," December 14, 15 and 22, 2013 at New York's Florence Gould Hall.
|Author:||Francis Timlin [ Sun Dec 21, 2014 9:05 pm ]|
|Post subject:||Re: New York Theatre Ballet|
Siobhan Burke reviews the Friday, December 19, 2014 matinee performance of Keith Michael's "The Nutcracker" for the New York Times.
|Author:||balletomaniac [ Tue Dec 23, 2014 9:20 am ]|
|Post subject:||Re: New York Theatre Ballet|
New York Theater Ballet
Florence Gould Hall
New York, New York
December 19 (M), 2014
-- by Jerry Hochman
This is the second of three reviews that address Nutcracker performances by local New York companies and schools that are significant to those who dance in them, but may be under the radar to anyone outside New York City. They should not be ignored.
Founded in 1978 by its Artistic Director Diana Byer, New York Theater Ballet is a widely heralded ‘chamber’ ballet company, whose evenings of rarely presented and nearly forgotten dances, coupled with new contemporary pieces, under the titular umbrella “Legends and Visionaries,” provide an invaluable service to the dance world. Those programs I’ve seen have been well-presented and well-danced, charting new ground as they rediscover old pathways. In one review, I commented that if NYTB didn’t already exist, it would have to be invented.
NYTB’s version of “The Nutcracker” is not the same type of program. This version, choreographed by Keith Michael, is a small, intimate Nutcracker, obviously intended to be accessible to young audiences. (This production premiered in 2011. NYTB’s previous Nutcracker, also choreographed by Mr. Michael, ran from 1985-2010.) And this is as it should be. This NYTB Nutcracker is part of its ‘Once Upon a Ballet Series’, which is geared to presenting classical ballets in a form that young children can appreciate rather than be overwhelmed by. The number of dancers involved, both company dancers and young dancers from NYTB’s official training school, Ballet School NY, is small; the sets are simple and functional, and the characters are created in broad strokes more for effect than nuance. If you try to see it through a child’s eyes, it all looks like fun – which is the way it’s supposed to look.
The time and locale for this “Nutcracker” is slightly different from the usual. Here, the time (circa 1907) allows for an ‘art nouveau’ slant (the ‘picture frame in which some characters pose and from which some emerge and dance, and some costume touches, look vaguely art nouveau-ish), and the locale, as described in the program notes, is “on a grand street in a grand city.” (The scenic design is by Gillian Bradshaw-Smith, and the costumes are by Sylvia Nolan, who is Resident Costume Designer for the Metropolitan Opera.)
The story is your basic Nutcracker story, condensed, and made somewhat sillier than usual. The most significant alteration is to the character of Drosselmeyer. He’s still a strange duck, but no longer in any way a ‘sinister’ character. This Drosselmeyer is first seen entrapped in the innards of the mantel-clock he has crafted, accompanied by clownish ‘Tick-Tocks’, danced with considerable charm by Alexandra Angrist, Alison Enters, and Kaitlyn Pohly (the only student dancers in the production who are identified by name). As portrayed by company dancer Mitchell Kilby, Drosselmeyer is a cross between the Nutty Professor, a Marx brother, and a human butterfly. The silliness may grate on adults more familiar with high-octane Nutcracker productions, but it’s perfect for parents who want to introduce young children to the basic story without any attendant scariness.
There are some delicious touches here. The mantel clock (which, together with that picture frame, provides the production’s essential set), not surprisingly, has an hour and minute hand. During the battle between the mice and the soldiers, these hands are ripped off (literally) and become play-swords in the hands of Queen Mouserinks (the Mouse Queen) and the Nutcracker Prince. As the program notes indicate, “minutes and hours clash in the air.” Neat. And the mice keep getting tripped up, or lead around, or imprisoned by, by their own tails. Cute. All of this appears calculated to impact the young children in the audience to a maximum degree without requiring much in the way of bells and whistles.
Clara and her Nutcracker Prince were portrayed by company dancers Amanda Treiber and Stephen Campanella. Ms. Treiber convincingly assumes the wide-eyed wonder of a young girl, and Mr. Campanella, whom I recall from American Repertory Ballet, is a worldly Nutcracker Boy, befitting a character who is both Drosselmeyer’s Nephew Nathaniel and a Prince in the Land of the Sweets. Rie Ogura, a company dancer who has distinguished herself in other company productions, was a commanding Sugar Plum Fairy, and Michael Wells her gallant Cavalier. They doubled as the Stahlbaum parents.
In the character dances and divertissements, the participating company dancers (Alexis Branagan, Nayomi Van Brunt, Carmella Lauer, Mayu Oguri, Marius Arhire, Brent Whitney, and Sandra Ross), a subset of the full NYTB Company, played duplicate roles. The highlights for me were the Chinese Dance, in which the two dancers utilized pairs of wooden sticks, to pound on the ground as if they were drum sticks, or to lift themselves up like crutches; the dance of the Marzipan Shepherdess, which was played, for a change, by a shepherdess herding her sheep (the student dancers pranced around with sheep masks; the shepherdess with a wolf mask); the Russian Dance (‘Russian Boules’), which was performed engagingly by the school students; the dance of Harlequin & Arlequina, performed by Mr. Whitney and Ms. Branagan (who might also be a natural Clara in this production); and the Waltz of the Flowers, in which Clara and the Nutcracker Prince joined company soloists and students.
While on a much lower decibel level than other area Nutcracker presentations, the smiles on the faces of the young children exiting the theater at the performance’s conclusion is testament to the fact that this NYTB Nutcracker successfully resonated with its target audience.
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