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Willam F. Christensen introduced the Nutcracker to Salt Lake audiences in 1955. The production has retained its essential elements throughout the past 46 years, although with a great deal of tinkering and tweaking by Mr. C. and his successor artistic directors of the past 23 years, Bruce Marks, John Hart and, currently, Jonas Kage. I first became familiar with this production in 1975, when Ballet West's home venue was Kingsbury Hall at the University of Utah, known for its very cramped stage; so cramped, in fact, that a door that was used to load in sets from a loading dock, located in the center of the back wall, was opened and a platform was constructed from which Clara and her prince to viewed the Act II festivities. There was no heat (and Salt Lake winters are cold and snowy) except for a small portable heater installed to take the chill away.<P>In 1976, I was pleased to vote for a bond issue for the restoration of an old vaudeville house, the Capitol Theatre, which has since become Ballet West's home. When I attended the closing performance at the Saturday matinee on December 29, this was my first opportunity to see the company perform the Nutcracker in their new home. I had also attended their Nutcracker performances on tour in Portland, Oregon during the Bruce Marks era of the eighties. As with the San Francisco Ballet, I have some concern for the preservation of the Christensen legacy inherent in the Nutcracker.<P>This was my second visit to the Capitol Theatre; my first was in 1998 for a spring mixed repertory performance during what was one of Jonas Kage's first seasons. The theatre is a jewel box of rococo exuberance. The lobby was enhanced by the serenade of carolers on the mezzanine balustrade. A very nice addition to the welcoming atmosphere.<P>Act I is substantially the same as the current production in San Francisco. The mechanical doll and mechanical bear (in this production, dressed in lederhosen and sporting an Alpine hat) dance together and engage in some partnering.<P>Principals Jessica Harston and Seth Olson made a stunning pair in the Snow pas de deux. Ms. Harston, in particular, has grown in strength and security since I last saw her in the spring of 1998. At that time, she was an object of some internal controversy because, as a corps member, she had captured the attention of Jonas Kage and was clearly being propelled to the head of the class. From the results in evidence last week, I would have to say that Mr. Kage's confidence was justified. She made quite a dazzling Snow Queen, both in the adagio section and in the brilliance, lightness and security of her allegro work. A pity that this is all we got to see of her.<P>In Act II, Spanish has now been reconstituted for a soloist (Donna Patzius on 12/29) and small ensemble. Sadly, on pointe, not character shoes, and the castanets have fallen by the wayside. [Mattlyn Gavers used to keep a photograph of herself in this part in her office...in character shoes, playing castanets.] Arabian remains much as I remember it, with a "vanishing" act (followed by a curtain call from the "wrong" side of the stage) that somehow seems less effective than it was on the smaller Kingsbury stage. (Note: in the Kingsbury days there was no crossover; the Arabian soloist had to *run* down a flight of stairs, streak down a corridor running the width of the stage and filled with wardrobe paraphernalia, dancers stretching out, children, etc., and up the stairs on the opposite side of the stage in order to make the "wrong side" curtain call. Ah, the "good old days!")<P>Chinese remains unchanged -- one male soloist who is a jumper and has 90-degree splits in the air. Another slight disappointment came in Merlitons, where it appears that someone decided to replace the toe-hops with something far less memorable. Russian used to have three men; it now sports five, including a soloist. The choreography for this was refined over the years, in consultation with Yurek Lazowsky, who taught at the University of Utah for a number of years.<P>Mother Buffoon (Ginger) has grown larger, although her dress still contains eight gymnastic buffoons. (Note: this weighty apparatus used to be harnessed to the performer's back; it was very heavy and the performer could only see through slits in "mother's" midriff. While the current contraption sails majestically along and allows the performer to see and be seen at its apogee, it does not permit the skirt to be twirled at the appropriate musical cue.)<P>Waltz of the Flowers now includes men...and not just one...there was quite a bit of corps partnering going on, in addition to the soloist partners. I have watched this one evolve; it used to be only 16 women (generally U. of U. students except for openings, closings, and other exceptional circumstances); in Portland, I noticed one year a "rose" was added and later a pas de deux couple. Now everyone is partnered. Nonetheless, at the very end, I prefer SFB's "rose blossom" formation. The choreographic design of this waltz is a good example of the "simpler is better" dictum. I enjoy it for its clarity and simple elegance; unlike some "fussier" versions, its seven or eight minutes of length never calls attention to itself.<P>The pas de deux (done in the proper order: adage, men's variation, Sugar Plum variation, coda...thank you, Mr. C.) was performed by soloist Leslie Ann Larson and principal Jeffrey Rogers. I found him to have genuine danseur noble qualities and Ms. Larson to have very centered technique and assuredness. The costume (presumably by David Heuvel) for her entrance at the beginning of the act is stunningly exquisite -- high back collar, long train held by fairy attendants.<P>The orchestra, under new music director Terence Kern, played well. Live singers for Snow were supplied from among the choir members who serenaded the audience before the performance and at intermission.<P>[This message has been edited by Francis Timlin (edited January 03, 2002).]<p>[This message has been edited by Francis Timlin (edited January 08, 2002).]
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