George Balanchine:
”The Nutcracker”
December 1 -2 2017
Royal Danish Ballet
The Old Stage
The fourth turn in six years of George Balanchine’s “Nutcracker” confirms that the company is in good shape with strong performances by leading dancers. However, all is not well in Copenhagen. Last year it was decided to let go of the company’s character actors and instead bring them in when needed.
Instead of bringing in the characters dancers in for the “Nutcracker”, the mature roles were handed by young dancers, and two of the leading male dancers, had to dance the role of Drosselmeyer as well a Sugar Plum Fairy’s Cavalier. In many ways a bad decision, and a decision that could lead to the downfall of one of RDBs strongest contribution to the ballet scene.
Bye Bye Grandmother
Many years ago, the renowned Bournonville stager, Hans Brenaa compared the Danish tradition with international practice. He felt the character traditions was one of the company’s strong points.
He stated, “If you go to an international company, Giselle´s mother would be played by a young girl in a grey wig, whereas in Denmark the role would be played by a seasoned pro, who can add character to the role”. He also stated that many big international companies envied the Danes this extra advantage.
II already knew that Principal Gregory Dean and Soloist Jonathan Chmelenski as Drosselmeyer indeed would wear the mother – or father – of grey wigs as well as the prince’s standard gear. Both did what they could and looked like they appreciated the change. They did neither badly nor outstanding. However, I was shocked to see the first cast of Doctor and Frau Stahlbaum, Marie’s parents, played by dancers approaching their mid-20ties. Their group of friends was cast in the same age group. With Femke Moelbach Slot, Alba Nadal and Nicolai Hansen in cast Two and Three it did become less juvenile,,In the first cast, brilliant character actor Morten Eggert, who has not yet reached the pension age of 40 created a strong and funny performance as the grandfather. However, the role of for his wife was given a younger dancer (not named and no recognizable due to heavy masking, glasses and a big cap).
As believable as he was, as unbelievable was she, and it shortcuts the story in the story of this almost senile couple taken care of two probably orphan grandchildren. The humor was also affected. In second cast, Benjamin Buza in his late twenties took over the grandfather. He did what he could, but it is not only a step to far, but almost a mile.
I am sure that Balanchine´s “Nutcracker” is performed elsewhere with a young cast. However, the experienced character dancers of RDB can add extra credibility and lots of fun to the production. The big question is, how banning the character experts will influence both the Bournonville tradition, which may be impossible to rebuild. I hope it is not Nikolaj Hübbe´s plan to be the eliminator of the great Danish tradition.
This production shows that the company can handle Balanchine. I certainly hope I can continue to say the same regarding the national heritage.
Letting the younger generation out
Since the Danish premiere in 2011, the Balanchine “Nutcracker” have been performed every other Christmas season, interchanging with the two Wheeldon productions “Sleeping Beauty” and “Alice”.
The casting has been rather conservative. Of the three youngest principal Ballerinas, only Caroline Baldwin has had a shot on Sugar Plum Fairy. Ida Praetorius, who has danced major leads since her apprentice days and Holly Jean Dorger finally reached the highest pin.
Caroline Baldwin repeated her partnership with Gregory Dean´s cavalier and finally received her promotion to Principal dancer. She is a strong Balanchine and Petipa dancer, who has grown in this employ over the last seasons. Her Dew Drop on the second performance was musical and controlled.
Principal Ida Praetorius was an outstanding Dew Drop on third night and an even more outstanding Sugar Plum Fairy on the second. It was full-fledged performance, on true Prima Ballerina level. Every movement in full balance, clear, sharp, and very musically. She was partnered securely and careful by Principal Marcin Kupinski.
Principal Holly Jean Dorger have the advantage of a School of American Ballet background. However, neither Dew Drop nor Sugar Plum Fairy demands her trademark strong technique. They are all about style. Still as Dew Drop, she tried to maximize speed and turns. Impressive, but too far away from the core of the role.
As Sugar Plum Fairy the elegant and stylish Soloist, Jon Axel Fransson, who is known as a strong cavalier, who highlights his partners, partnered her. However, they were too far apart stylistically to create a union. Somehow, Balanchine has forgotten to include the intricate steps and turns, where Dorger really can excel. She needs another vehicle.
Another Spanish Lesson
With “Raymonda” and “Swan Lake” in this season´s repertoire as well as the “Nutcracker”, the RDB ensemble is drowned in international divetissments. When the season is run, they will have danced three Spanish, two Arabian and two Hungarian Divertissement as well as the rest.
This production uses the divertissements to give as many dancers the change to excel. The Arabian divertissement was taken very good care of by Stephanie Chen Gundorph, Wilma Gigglo and Astrid Elbo.
Jon Axel Fransson repeated his outstanding Candy Cane. Tobias Praetorius and Liam Redhead also shined in the role.
The only problematic among the divertissements was Mother Gigone. Morten Eggert again, delivered a fine character, while both Oliver Starpov and MacLean Hopper was hindered by problems with the oversize headgear.
Wearing Two Hats
Signing up for the Balanchine “Nutcracker”, RDB commits itself to follow the guidebook according to the Balanchine Trust. We can certainly conclude that the company delivers a production on a very high level.
Still the production leaves us with very serious questions. Is RDB on the road to abandon their celebrated dramatic tradition? I certainly hope not, although I raise the flag. The humor and drama that RDB has provided for productions like the Balanchine “Nutcracker” do ad extra value to the production. There is lot to enjoy in the production. However, RDB must not be so international, that it will kill the company´s core values. It is a voice that need to be heard – or rather seen. Without that, there will be no Royal Danish Ballet nor Copenhagen City Ballet.
Photos by Henrik Stenberg (Copyright(c) Royal Danish Ballet
- Ida Praetorius as Dew Drop
- Morten Eggert as Grandfather
- Caroline Baldwin and Gregory Dean as Sugar Plum Fairy and Cavalier
- Holly Jean Dorger as Dew Drop
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