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An audience member might be surprised when this bizarre character creation in recent productions of THE NUTCRACKER lifts “her” skirt in the Kingdom of Sweets onstage during the American Ballet Theatre (ABT) production playing now in Orange County’s Segerstrom Hall thru December 19. The moment counts as one of many in Alexei Ratmansky’s version of this revered classical ballet surely guaranteed to astonish families making the annual pilgrimage in order to dip their toes in the magic and wonderment that this ballet engenders during the Christmas season (especially this particular season).

Of course, if you treasure THE NUTCRACKER from year to year on a variety of stages, you already know that the story, characters and stagings often differ from one production to another. Who is “Drosselmeyer”, for example…an uncle, a toymaker, a magician, or a godfather? Or for that matter, is “Clara” a child with an active imagination, a princess or a “Sugar Plum Fairy”?  What is a constant, though, is Tchaikovsky’s ravishing score featuring gems such as “Waltz of the Snowflakes”, ”Waltz of the Flowers” and “Dance of the Sugar Plum Fairy” (a part of the brilliant Grande Pas de Deux for the Cavalier and the Princess). One is sure to recognize the strains of these evocative melodies whether played on a piano or by an orchestra the likes of the Pacific Symphony as is the case with this production.

This Choreographer, a journeyman from the famed Bolshoi Theatre in Moscow (now ABT’s Artist-In-Residence), decided to fashion the ballet with the focus of a young girl who sees herself evolving into an adult princess ballerina.  That provides inspiration for choices in his staging, but also presents opportunities for the principal dancers to embrace the youthful energy and “joie de vivre” in their own performances. And that they do! Both Hee Seo and Cory Stearns more than meet the moment.  In fact, “sympatico” captures the essence of their pairing. The ballerina embodies delicacy in her every gesture and floats through the air – a wisp of suredness and beauty as in the journey of a hummingbird. By her side, the Cavalier (or Prince if you will) evokes the stalwart nature of a gallant partner – devoted, powerful and resolute while willing to hoist her to the heights where she belongs (and does so – actually – with several thrilling lifts in his repertoire ever at the ready).

Yes, Mr. Ratmansky plugs in quite a few alterations to the traditional retelling of the original E.T.A. Hoffmann’s fantastical story “The Nutcracker and the Mouse King”, but his artistic concept dictated these changes. Notably, his addition of the kitchen scene as the ballet opens sets the tone for the playful adventures to come and humanizes the Stahlbaum household as well. Not only that, the larger role for the mice excited the youngsters in the audience as evidenced by their shrieks of hilarity. And the youngest mouse deserves singular acclaim; he’s (or she’s) a funmeister for sure!

Another significant change involved the tone of the Land of the Snow experience for Clara and the young Prince. The snowfall in this version gradually becomes more threatening to the youngsters and the Corps de Ballet become one with the ever worsening chaotic conditions threatening the duo on their journey. Ultimately, Drosselmeyer arrives on the scene with a sleigh to guide the terrified duo to a new land before intermission just as the Snowflakes… (Sorry, no spoiler here.)

That is not to say that all of the alterations proved successful.  For example, this critic found the revised role for the Sugar Plum Fairy to be totally unsatisfying.  Likewise, the opening choreography for Act II seemed confusing and a bit stultifying for my taste.

Bravo for the international dances in the Kingdom of Sweets (or Land of the Sugar Plum Fairy) which were a tribute to the daring exploits of Clara. All of them boasted unique treats which resulted in sugary excess. Count this guy a fan of the Arabian dance with its eventual descent into bedlam as the harem of four ladies turns the table on their bald-pated companion. In addition, the Chinese duo’s verve positively frolicked….almost with a Vaudeville flair (thinking George M. Cohan with a mandarin bent). Less folksy were the Cossacks of Russia and that may not be a disappointment given their antics. Certainly the Spanish couples met expectations, too. Only the sisters involved in the marzipan segment appeared to be underwhelming. 

“The “Waltz of the Flowers” blossomed with this choreographer’s vision. Oh, and the addition of the four spirited, tuxedoed bees enlivened this dance in an extraordinary way. The audience certainly celebrated the tossing of each and every “flower” by these guys who, by the way, were sporting some amusing, dangling stingers. These danseurs created quite the buzz!

Deserving of accolades are the children in this production as well.  Clara, Fritz and the Nutcracker toy-turned-young Prince lead the way with disciplined performances. The “Galop”, as executed by the children’s ensemble, registered charming as well.

As for the technical credits, Jennifer Tipton, as always, delivers crisp lighting accents, shadowy effects and affability in high doses. In the same vein, Richard Hudson absolutely nails the costume design elements, yet falls short on a few scenic chores including the evolution of Christmas decor in the Stahlbaum home and some disappointing framing aspects of the Kingdom of Sweets, too. 

The Pacific Symphony, under the baton of ABT Music Director Ormsby Wilkins on Opening Night, explored the intricacies of Tchaikovsky’s musical score in support of the dancers. Precision and purity of sound ruled the evening’s musical through-line. Consequently, the audience offered rapturous applause for the musicians’ enormous contributions when the Conductor joined the dancers at “Bows”.

The child in all of us deserves to annually bear witness to the beauty of THE NUTCRACKER. In this professional iteration, a rotating roster of ABT stars will lead future performances of this ballet classic, reviving Christmas cheer while demonstrating the expertise of one of the world’s greatest ballet companies. Costa Mesa can certainly be proud to host the American Ballet Theatre once again. Be advised, friends, “Mother Ginger“ promises a bevy of surprises along the way!

pc: Gene Schiavone & Doug Gifford

Theatre Curtain Calling… Reviewing the Situation

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Laguna Playhouse, in concert with Lythgoe Productions, has fashioned an Americanized version of the classic, wildly popular, British holiday pantomime.  While it may not check all the boxes for our friends across the pond, it features plenty of verbal treasures ripe for its target audience (i.e. families anxious to entertain the children with broad, stageworthy antics, etc.).

The Sherwood Forest adventures celebrated in ROBIN HOOD & MAID MARION are populated with all the usual suspects.  In addition to the title characters, the attentive youngsters attending this performance encounter his merry band of cohorts including “Little John” and “Friar Tuck” and, of course, the villainous “Sheriff of Nottingham” (BOO!). Immersed in a selection of 1970’s disco hits from the likes of Donna Summer, the Pointer Sisters and the Bee Gees, the show benefits from these embellishments along with the musical interludes provided by resident Sound Designer Ian Scot  in addition to Jamjor Music.

Kristopher Lythgoe has crafted a book giving due credit to the basic story elements, carving out freedom for the hero to rob from the rich and give to the poor, allowing the heroine opportunities to demonstrate her cunning in addition to her physical prowess as well as providing the villain quite a few instances to be bamboozled, together with his coterie of bumbling henchmen. The script, though, screams for a few carefully designed entrances for “Robin” to generate cheers from the audience.  Not only that, this critic is not sure that all of the disco insertions warrant the “mirror ball”, although there can be no doubt the “Disco Inferno” set the Moulton Theatre ablaze and “Le Freak” offered choreographer Mason Trueblood a palette of bizarre, contorted movements which appear just right in amping up the silliness factor.

Mr. Trueblood’s dances provide jolts of energy to the zany goings-on and all of his dancers are right on the mark. Shout out, in particular, to James Velasco and Bryce Moyer who deserve some extra recognition for their notable prowess.

Title players Michael James Ryan (who may have been a bit “tight” – I know, insert GROAN here) and Sohm Kapilka (who still needs a  dose of demure near the beginning and a sprinkle of sly applied to her manipulative nature) will undoubtedly secure their footing as they settle into the run. Featured player  Jo Osmond (“Sherwood Sprite”) handles the narration with airy ebullience. Likewise, Tyler Shilstone (“Little John”) flexes the muscle appropriately, while Daniel Kim (“Friar Tuck”) approaches the altar of godliness with his own version of piety (in this case, no need for a diet anytime soon!). All in the Ensemble, no matter the task, perform admirably as well.

Sherwood Forest could not thrive for sure without the enormous contributions of two thespians who fill the stage with a heavy helping of mirth. This critic “sure would” like to recognize the talents of Jared Machado (“Will Scarlett”) and Andrew Lynford (“Sheriff of Nottingham”) respectively.  The former galvanizes the appreciation of the young ‘uns with a steady diet of glee, kneading the collective appreciation for these onstage hijinks.  The latter slithers around the stage with evil aplomb, prompting those in the seats to relish his undoing.  Bravo, guys!

As for the physical production, Ian Wilson succeeds with the scenic elements without getting lost in the forest.  Likewise, Nita Mendoza’s lighting is truly “lit”. In addition, Tiffany Maxwell’s costumes impress with special note warranted for the ladies of the Ensemble, “Robin Hood”, “Sheriff of Nottingham”, ”Sherwood Sprite” and the wedding party of the Finale.

Lastly, any observer would be remiss by not recognizing the contributions of Director Bonnie Lythgoe who squeezes the glue which melds this entire enterprise together. YAY!

In case you are wondering, Covid protocols currently in force do not require vaccinations, although face masks are required. Guests will be happy to know that compliance appears to be widespread. In fact, this critic only witnessed one mature gentleman ignoring this requirement throughout the show; then again, he may have been somewhat inebriated as evidenced by his occasional goofy exclamations.

So, join the merry band of outlaws in residence at the Moulton Theatre in Laguna Beach. Help the theatre celebrate its 100th Anniversary while you’re at it.  Don’t forget to bring the kids (who likely will welcome the opportunities to cheer and boo w/o the admonition of their parents).

pc: Mason Trueblood

Theatre Curtain Calling… Reviewing the Situation

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2021 – 2022

CENTER THEATRE GROUP

Regional Theatre

Los Angeles (LA), CA                                                                                                                                                                                                                                                                                                                                                                              Box Office: 213-972-4444

Website: centertheatregroup.org

Social Media: (F) @CTGLA; (I) @ctgla; (T) @CTGLA; (YT) @ctgla; (G+) +CenterTheatreGroup

Theatres

Ahmanson Theatre (LA); Mark Taper Forum (LA) (both residents of the LA Music Center); Kirk Douglas Theatre (Culver City)

Productions & Dates/Extensions

AHMANSON THEATRE

A CHRISTMAS CAROL…November 30 (2021) – January 1 (2022) 

EVERYBODY’S TALKING ABOUT JAMIE…January 16 -February 20 (2022)

HADESTOWN…April 26 – May 29 (2022)

COME FROM AWAY…May 31 – June 12 (2022)

DEAR EVAN HANSEN…June 29 – July 31 (2022)

THE PROM…August 9 – September 11 (2022)

OKLAHOMA!…September 16 – October 19 (2022)

MARK TAPER FORUM

I’LL BE SEEIN’ YA…(Digital Stage)…(Early 2022)

SLAVE PLAY…February 9 – March 13 (2022)

THE LEHMAN TRILOGY…(Ahmanson Theatre)…March 3 – April 10 (2022)

BLUES FOR AN ALABAMA SKY…April 6 – May 8 (2022)

KING JAMES…June 1 – July 3 (2022)

THE OLD MAN AND THE POOL…(Mike Birbiglia)…July 27 – August 28 (2022)

KIRK DOUGLAS THEATRE

ALMA…March 6 – April 3 (2022)

TAMBO & BONES…May 1 – May 29 (2022)

BLOCK PARTY (Performances of 2 shows from LA’s intimate theatres)…TO T or NOT TO T?…(LA LGBT Center)…June 25 – July 10 (2022)…THE ART COUPLE…(Sacred Fools Theater Company)…July 23 – August 7 (2022) 

Other Notable Events & Dates

Miscellaneous

Noted: 11/28/21                       Updated                      Updated                       Updated

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I was a lowly 10th Grader who had been talked into trying out for my school play – OEDIPUS REX. Peer pressure coaxed me into submission and I found myself cowering in the back of Mr. Knoblaugh’s French classroom. I did think this culturally “with it” (we used that term a lot in those days) man was cool; however, his ever-present pot belly and preppy blazer with scarf detracted from others reaching the same conclusion. There I sat, with head buried in my arms and lacking the confidence to even raise my noggin from its slouch.

Finally, the dreaded moment arrived: It was my turn to face the glare of those 60 some eyeballs peering into my soul. Stammering away, I “bombed” as the saying goes. Even “sad sack” Leonard gave a passable reading, I concluded.

Tossing and turning in my bed that evening, I replayed the whole sorry debacle. The next morning I slunk my way into view of the OEDIPUS REX cast list posted on the classroom door. Surprise! (no it wasn’t); my name was nowhere on that paper. The loose leaf seemed to be taunting me. Billy Reese’s future in Show Business died right there in the hallway of this Lansdale, PA high school. Needless to say, the broken “Crusader” avoided interactions with friends that day.

Soon I forgot all about my humiliation, and it became – instead – all about complaints as 10th graders are wont to do. Of course, I growled about my Geometry class in the gym, along with 100 of my fellow classmates, ogling for a view of the transparency via the overhead projector (short on Geometry teachers, I guess). Then, I complained about my Latin teacher being too old (Sr. Laetare must have been 100!). And on and on. Meanwhile, rehearsals for the play proceeded (without me) on pace for a cold, February series of performances.

Finally, when the day arrived for the obligatory school assembly, I remember filing into the gym (Geometry classroom gone…poof!). More astonishingly, the chairs for the audience were arranged in a circle with gaps for actor entrances part of the scheme of things.

Then, the play began and it was looong. Actors were heroically exclaiming, clad in flowing costumes with crepe hair and lousy make-up. Everybody was squeaking and “wrutching” (it’s my spelling of a PA Dutch verb) in their seats. In short, Sophocles’ OEDIPUS REX was larger than life. Theatre had reeled me in –  hook, line and sinker.

Next time I could summon the courage – I vowed – I would try again. If at first you don’t succeed, …

Looking Back Is Looking Forward…Snapshots of People, Performances et cetera (etc.) about the Way We Were

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2021 – 2022

CITY BALLET OF SAN DIEGO

San Diego, CA

Box Office: 858-272-8663

Website: cityballet.org

Social Media: (F) @cityballetsd; (I) @cityballetofsandiego; (T) @CityBalletSD; @City Ballet of San Diego

Theatres

Selected Theatres in San Diego County

Productions & Dates/Extensions

CLASSICS IN CONCERT…(Joan B. Kroc Theatre)… October 1 – October 3 (2021)

ON THE MOVE…(Conrad Prebys Performing Arts Center (UCSD))…October 23 (2021)

THE NUTCACKER (with City Ballet Orchestra)…(CA Center for the Arts Escondido)…December 22,23 (2021)

RHAPSODY IN BLUE…(Balboa Theatre)…March 25, 26 (2022)

DON QUIXOTE (with City Ballet Orchestra)…(CA Center for the Arts Escondido)…May 7, 8 (2022) 

FAMILY BALLET SERIES…MUSIC MAKES US DANCE…(Joan B.Kroc Theatre)…October 2 Matinee(2021)…THE NUTCRACKER…(CA Center for the Arts Escondido)…December 22 Matinee (2021)…CARNIVAL OF THE ANIMALS…(CA Center for the Arts Escondido)…March 26 Matinee (2022)                                                                                                                                                                                                                                                                                                                                           OTHER NOTABLE EVENT(S) AND DATE(S)

LOVE en L’AIR…29th Anniversary Gala…(Hotel del Coronado Crown Room)…February 12 (2022)

Miscellaneous

Noted: 11/27/21                       Updated                      Updated                       Updated

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Sweet dreams!  When traveling, a comfortable bed is at the top of the list.

No lumps, please! Plenty of room to sprawl. Two large, billowy pillows that one is free to mangle. Smooth sheets on which to glide (especially vital if nekkid is one’s preference) and a toasty comforter to warm the tootsies. Oh, and a glistening white facade in order to create the necessary allure.

Currently, aboard the Royal Princess, our stateroom sends the appropriate invitation for a heavy dose of R & R. The steward embellishes the voluptuous folds with a couple of chocolates to massage the palate before diving into the bliss.

Now it’s off to slumber land. Embrace the dreamboat! Make sure the sliding door is open to the sounds of the ocean lapping at the vessel’s hull. Let the rhythms of the waves caress as they are wont to do. And zzzzzzzzzzzzzzzzzzzz.

Vacays…Port by Starboard (Oceans of Pleasure on the High Seas)

Mish & Mash…A Reflective, “Yours Truly” MUSINGS about Life’s Travails, Juicy Tidbits and Crass Behaviors, Too!

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