Classical moves create a magical ‘Nutcracker’
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Boston Ballet artistic director Mikko Nissinen has choregraphed a version of the E.T.A. Hoffmann story, to the full Tchaikovsky score, that both springs from the music and revels in the theatrical legerdemain that feeds kids’ souls.
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But there’s also dancing, dancing, and more dancing. There’s clarity of line and kaleidoscopic shiftings, geometric patterning and carefully balanced proportion in the choreography Nissinen has crafted for his dancers.

Acting sweetens ‘Nutcracker’
There’s something new going on at the Opera House. Boston Ballet’s “The Nutcracker” may have the same choreography as last year’s version, but this year there is more emphasis on acting. The production is a reminder that “Nutcracker” is not only a classical ballet but also a true work of theater.

Boston Ballet’s ‘Nutcracker’ still a delight
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By now, this version of “The Nutcracker” belongs firmly to company director Mikko Nissinen, who has changed enough of the 19th century-Marius Petipa choreography that had been provided by so many hands in the past.

Nissinen has diminished the roles for the children, or at least limited them to certain scenes, and brushed up the dancing. He has succeeded best in the classically astute passages for the corps de ballet ....

Where’s the magic?
Looking for enchantment from Boston Ballet’s Nutcracker

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Contrary to what the Boston Globe keeps trying to tell you, this Nutcracker has always been about the dancing, and there’s as much as ever in this production, but the bravura has gone. On press night last Thursday, only Joel Prouty as the lead Russian (and uncredited as the busker) did anything to elicit bravos.

SARAH WROTH’S NUTCRACKER DIARY

Dancer Sarah Wroth has begun a Nutcracker diary detailing her experiences during rehearsals and performances of the ballet. The diary will be periodically updated throughout November and December.