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(More customer reviews)In 1954, Russian-born choreographer George Balanchine staged a new version of "The Nutcracker" for his New York City Ballet. What sets Balanchine's version apart from the subsequent incarnations that would emerge in Soviet Russia and Europe is that it utilizes the original 1892 libretto. In fact, Balanchine's may be as close as one can ever get to seeing the original Maryinsky production by Marius Petipa and Lev Ivanov. Most notably, he preserved Petipa's emphasis on narrative over dance (used to great success in 1890's "The Sleeping Beauty"), especially in the Act I party and battle scenes and the Nutcracker Prince's pantomime in Act II. We also get conventions that were eventually weeded out in other productions such as a distinctly German setting for Act I, and Act II divertissement representing actual confections as opposed to just geographic regions. This is a very pure version of the ballet: no strange Freudian undertones as with Maurice Bejart's or Rudolf Nureyev's versions, no oppressive Soviet realism as with Vasily Vainonen's production (or with productions influenced by it, such as Mikhail Baryshnikov's version for the American Ballet Theatre), and no adults playing the children's roles as with all of the above. Here, we get a simple story of childhood whimsy culminating in some spectacular visions of Christmastime including a giant Christmas tree, a torrential snowstorm, and a magnificent Land of Sweets.
Here we have the 1993 film version of the Balanchine production, some forty years after its premiere; and a very fine film it is. It is directed by Emile Ardolino whose influence on the filming of American dance cannot be underestimated. For years, he racked up Emmy Awards (seventeen in total!) for his work profiling dance on PBS's programs "Dance in America" and "Live from Lincoln Center." It is Ardolino's finesse in guiding Ralph Bode's cinematography that sets this "Nutcracker" apart from others - in particular Carroll Ballard's 1986 film of Pacific Northwest Ballet's version and the recent San Francisco Ballet release (which, though beautiful in its own right, is marred by insensitive camera angles). Ardolino understands ballet and understands what a dance audience looks for. As a result, we get some gorgeous shots that are perfectly framed that maintain a respectful distance from the dancers. Oftentimes in dance films, we get so many close ups and odd camera angles it is impossible to get a holistic feel for the dance. Not so in this case.
The actual production has never looked better. Rouben Ter-Arutunian's set designs are absolutely stunning up close and, although Barbara Karinska's costumes are somewhat old-fashioned (including some rather heavy tutus for the Waltz of the Snowflakes scene), they have a nostalgic, stately charm. Jessica Lynn-Cohen is a surprisingly mature Marie. Her performance is nuanced and fully conceived. I wish I could say the same for her co-star, Macauley Culkin as the Nutcracker, in an odd example of stunt-casting. His performance is comparatively stilted and awkward. This would be perfectly serviceable in a stage production, but up close on film, it doesn't pass muster. Thankfully, his time on screen is relatively limited.
This production was filmed just before the New York City Ballet's status as a "Balanchine company" began to wane somewhere in the mid-1990s (although some would attest this happened earlier). Thus, we get to see some performances that represent the zenith of the company's potential. Darcy Kistler exhibits fleet, elegant precision as the Sugar Plum Fairy. Her Pas de Deux with Damian Woetzel (who has since gone on to become a formidable dance director and lecturer) is breathtaking. Kyra Nichols gives an exhilarating, powerful performance as the Dew Drop leading the Waltz of the Flowers. Bart Robinson Cook plays a delightful Drosselmeyer (a role which Balanchine played himself in the early years). Likewise, the way the corps throw themselves into numbers like the Waltz of the Snowflakes and Waltz of the Flowers is unparalleled.
All that said, the true star of the show is still Balanchine's sensitive choreography. With the libretto being so bare bones, it is up to the choreographer to make or break this ballet. Here, we get an atmosphere of warmth and love in the Act I party scene, a detailed master class in expressive movement. Utilizing only mime and gesture, Balanchine imbues every character onstage with a distinct personality and place in the action. (Credit must also be given to the talented students of the School of American Ballet.) Also palpable is the familial air of the Stahlbaum household, exemplified in a brilliant and sweet entr'acte that Balanchine interpolates between the party and battle scenes (utilizing music cut from Tchaikovsky's "The Sleeping Beauty") in which Marie's worried mother (played by the lovely Heather Watts) comes looking for her daughter who has fallen asleep by the Christmas tree. After the narrative subsides and the dancing takes over, the corps numbers become organic extensions of Tchaikovsky's brilliant music. In fact, with Balanchine, the dancers become embodiments of the music - this is especially the case with the Waltz of the Flowers closing the divertissement of Act II. Just seeing the melodic patterns work themselves out through the dancers is breathtaking. Speaking of the music, Tchaikovsky's score gets a wonderful, sensitive performance here from David Zinman and the New York City Ballet Orchestra.
Seeing this "Nutcracker" after so many other incarnations always feels like returning "home." It is a lovingly constructed rendition that I am glad has been preserved on film.
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GEORGE BALANCHINE'S THE NUTCRACKER - DVD Movie
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