The Nutcracker

At Queensland Ballet’s newly renovated Thomas Dixon Centre, the work of the wardrobe department is gloriously on show through glass walls. On a recent visit to the centre, I noticed the magic elves at work on horses and mice costumes and there was a sense of excitement in the air – The Nutcracker was coming! I have never seen this ballet before, and I think that, if you are looking to introduce someone (young or old) to ballet for the first time, get into the Christmas spirit, or simply start a new family tradition, Queensland Ballet’s production of The Nutcracker is a very good place to start (even though it is very much a European, snow-covered festive setting). Now in its tenth year, (braving Covid with a reduced show in 2020), the production is magical – from the atmospheric original lighting design by David Walters (revived this year by Cameron Goerg), chocolate box sets by Thomas Boyd and festive-hued costumes by designer Desmond Heeley (and associate Noelene Hill) to the wonderful live performance of Thaikovsky’s iconic music by the Queensland Symphony Orchestra (QSO), arranged and conducted by Nigel Gaynor (Dane Lam also guest conducts), with live side-stage vocals by the Voices of Birralee and St Peter's Lutheran College Choir. All of these elements provide a sparkling background to showcase the jewel-like dancing stars of the Queensland Ballet, choreographed by world-renowned Ben Stevenson OBE.

The original story of The Nutcracker by the Prussian Romantic, Ernst Hoffman, was thankfully simplified and shed of some of its darker themes by French writer Alexandre Dumas (senior) and prepared as a ballet with music by Russian composer, Tchaikovsky. Like all good Christmas tales, it is set on Christmas eve and the main action combines potentially nightmarish scenes with pure magic and takes place in the dreamlike realm between a child’s overexcitement and too much Christmas pudding. Some splendid Gothic elements remain – the Stahlbaum’s Christmas eve party is gatecrashed by a black-clad and eye-patch-adorned stranger, the mysterious Dr Drosselmeyer (the dashing Victor Estévez) who brings life-like toys for the children to fight over.

The magic begins as the dolls come to life (courtesy of dancers Kohei Iwamoto, Lina Kim, David Power and Isabella Swietlicki). The party scenes also give Queensland Ballet’s company artists and interns some wonderful character acting moments (Georgia Swan and Vito Bernasconi are Mr and Mrs Stahlbaum, Luke DiMattina as their cheeky younger son, Fritz, with mischievous grandparents and auntie played to the hilt by Laura Tosar, Rian Thompson and Vanessa Morelli). Jette Parker Young Artists (Noah Aitken, Kai Burrows, Carter Gibson, Stella Jackson, Tallulah Johnson, Charles Matheson, Ruby Miethke, Dean Round, Maci Smith, Iris Sutherland, Victoria Vanganaitham, Piper Vielle, Molly Watson) provide some cheeky laughs, thoroughly enjoyed by younger and older audience members alike (the infectious giggling of the little girl sitting behind me shows how much detail is being absorbed by younger audiences).

The eponymous Nutcracker is gifted to eldest daughter, Clara (the elegant Chiara Gonzalez) who falls asleep only to be awakened at midnight by giant (albeit cute) mice in her bedroom. The Nutcracker (danced to perfection beneath his costume by Alexander Idaszak) and his military troupes fight the rodents off but Clara saves the day by courageously fending off the King Rat (Vito Bernasconi).

In doing so, she transforms the Nutcracker into a handsome prince (Patricio Revé) who whisks her off to the magical Land of Snow and the Kingdom of Sweets.

The fantasy setting is a stage for Clara to be entertained by a multicultural feast of dancers from around the world, as she and the audience are treated to a showcase of Spanish dancers (Serena Green, Dylan Lackey, Georgia Swan, Rian Thompson, Vanessa Morelli, Samuel Packer), exotic Arabian styles (the crowd-pleasing Neneka Yoshida and Alexander Idaszak), sword-wielding Chinese dancers (Mali Comlekci and Luke DiMattina pre-dating the cinematic Matrix moves), energetic Russian splits and jumps (the fabulous Vito Bernasconi), and of course the quintessential dance of the sugar plum fairies, with leads Lucy Green and David Power.

You may have heard the music before on TV advertisements and mobile ringtones, but the ballet is the only place to experience Thaikovsky’s music. This beautiful collection is a fitting farewell appearance for the QSO’s Concertmaster, Warwick Adeney. While you can’t see Warwick on the stage, his energy is palpable from the orchestra pit.

The beauty of Stevenson’s choreography is that the dancing builds to complex and beautiful pas de deux by the Prince with two leading ladies, the Sugar Plum Fairy, and the Snow Queen. You couldn’t find a more handsome prince than Patricio Revé and more beautiful partners than principal dancers, Mia Heathcote and Yanela Piñera.

Their pieces together are simply perfection. Fortunately there are plenty of opportunities for the audience to get involved and applaud the talent and finesse on show. I loved this part of Stevenson’s choreography – he has one eye on the audience at all times and allows us to be part of the action. Having never seen The Nutcracker before, I was eagerly anticipating a final dance for Clara with her prince, but sadly, it was not to be. She awakens only with Christmas day to look forward to. Perhaps next year she will be old enough to dance with her prince?

Beth Keehn

Credit: David Kelly

The cast changes throughout the season, so check the Queensland Ballet website for details:  https://queenslandballet.maglr.com/the-nutcracker-2022/welcome