CriticalDance Forum

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This is the first time in 17 years that Mateo’s Ballet Theatre is offering its “Nutcracker” at both the intimate Sanctuary Theatre in Harvard Square (through Dec. 19) and the brand-new Duxbury Performing Arts Center (Dec. 22-26). The latter venue seats 1,000, similar to the Cutler Majestic Theatre, where Mateo presented his “Nutcracker” for many years before moving his company to Harvard Square in 2000.

... last night’s quite wonderful performance revealed that the artistic director has been busy tweaking both his choreography and his own set and costume designs, resulting in significant improvements. .... As an ensemble, Mateo’s company - augmented, of course, by pre-professionals and students, as is the custom for all professional “Nutcracker” productions - has never looked better or more all of a piece with the choreographer’s vision.

The choreography of Jose Mateo’s “Nutcracker” can be as multifaceted as cut glass and as pure as a single unadulterated line. Indeed, the dances that resonate most powerfully in this intensely musical version of the holiday classic are those swing to the two extremes ....

.... With segments both secular and sacred, “A Dancer’s Christmas” maintains a rare ability to continue certain expected traditions while allowing other parts of the choreography to adapt to current themes, some of them overtly political.

.... Besides providing fresh alternatives to the traditional “Nutcracker,” the two productions also share a sense of community spirit that touches on the true meaning of Christmas.

Just can’t get enough of dancing toy soldiers and waltzing flowers? BalletRox’s “Urban Nutcracker” doesn’t forgo the old chestnut entirely, but in this edgy production, Tchaikovsky’s familiar score often segues into Duke Ellington, and young Clara is a sweet inner-city kid named Clarice.

.... “A Dancer’s Christmas,” which looks at Christmas from three historical eras, combining reverence with jovial good humor. The first act Nativity is followed by a boisterous celebration of Christmas in medieval times, with a colorful cast of townspeople, a traveling band of entertainers, and lots of children converging on a central square. The third act captures contemporary life with a suite of dances set to familiar carols.

If asked, Khalid Hill -- tap choreographer for BalletRox's ''Urban Nutcracker" and hoofer with the touring company of Savion Glover's ''Bring in 'Da Noise, Bring in 'Da Funk" -- probably wouldn't identify with E.T.A. Hoffmann's holiday tale of a girl transported from her family's Victorian parlor to a magical land of sweets with the help of a sorcerous godfather and a wooden nutcracker soldier. But metaphorically, the comparison isn't far-fetched.