This year’s Nutcracker season concludes with Collin County Ballet Theatre’s spirited version featuring stunning guest artists and live music at the Eisemann Center.
Richardson — With more than 15 professional and pre-professional The Nutcracker productions running from Thanksgiving to Christmas each year, ballet company directors in the Dallas-Fort Worth area have to continuously find new ways to up their production value if they want to stand out from the rest of the Nut pack. For some ballet companies this means tweaking choreography, storylines and stage setup while for others it means adding live music and big names from local and national dance companies to draw in the crowds, which is exactly what Collin County Ballet Theatre (CCBT) does with its Nutcracker production. While the promise of live music and notable guest performers is what initially got me to the Eisemann Center for Performing Arts last Tuesday evening, it was the budding technical range and intuitive musicality displayed by the Senior Company (Brittany Chambers, Emily Dunaway, Aurelia Han, Lauren Huynh, Abigail Linnabary, Marissa Storey and Carissa Weaver) as well as Junior Company Member Alisa Ishikawa’s luminous performance as Clara that puts CCBT’s Nutcracker production in a class of its own.
For those unfamiliar with the 19th century holiday ballet originally choreographed by Marius Petipa and Lev Ivanov with music by Pyotr Ilyich Tchaikovsky, here is a quick synopsis: The story begins at the Silberhaus’ annual Christmas party where family and friends have gathered to eat, drink, dance and exchange gifts. Herr Drosselmeyer arrives late and entertains the children with magic tricks before handing out toys to everyone, including a nutcracker doll for young Clara. After Clara falls asleep she dreams of her nutcracker doll coming to live and battling an army of mice led by the Rat King. Once the Rat King is defeated the Nutcracker Prince escorts Clara through the Land of Snow and across the Lemonade Sea to the Kingdom of the Sweets where couples from different nations are waiting to dance for her, including the Sugar Plum Fairy and her Cavalier.
Most Nutcracker productions have the cast enter the stage during the musical introduction at the beginning, but CCBT Director’s Kirt and Linda Hathaway cleverly chose to leave the stage blank and just let the audience soak in the crisp, pervasive sounds of the Plano Symphony Orchestra (PSO) led by Hector Guzman. Nothing beats live music at a dance performance. It adds new depth and excitement to a dancer’s performance, which we clearly saw in the Merlitons and The Waltz of the Flowers variations as well as the Grand Pas de Deux with the Cuban Prima Ballerina Adiarys Almeida (Melian Izotov Dec. 22) and World Ballet Competition Gold Medalist Taras Domitro (Shea Johnson Dec. 22).
The Hathaway’s kept the movement in the party scene simple with repetitive combinations that included waltz steps, pas de chats, glissades, piques and detournes, which the adults and children cleanly executed while also changing directions and group formations. Timing was off here and there and movement appeared fuzzy at times, but the performers continued to garner strength and confidence as the scene progressed. Alisa Ishikawa (Clara) was a guiding light for the younger dancers on stage. She confidently led the children across the stage in a number of skipping and running passes. She also exuded youthful vigor and technical brilliance in her solo moments which showcased her supple pointe work and graceful arms. Additionally, Ishikawa had some endearing moments with Kirt Hathaway (Drosselmeyer) who charmed audiences with his gleeful expressions and dynamic gesturing.
Once Clara is asleep chaos ensued in the form of tiny dancers dressed up as mice. They scurried around the stage as dancers dressed in red and white solider uniforms tried to coral them with their militant arm movements and clipped marching steps. The battle scene was where CCBT’s Resident Company began to shine. Jamie Thompson (former member of Dallas Black Dance Theatre) was a ball of controlled energy with his multiple jumps and grand battements, and Lauren Gonzales (CCBT instructor and choreographer) was the most agile Rat King I have seen all season with her head whacking leg extensions and multiple fouette turns.
The momentum in the battle scene carried over into the snow scene thanks to the striking violins offset by a brass counter melody that the dancing snowflakes then paralleled with their springy yet sometimes heavy footwork and fluttery arm movements. CCBT Resident Company Member Ashton Leonard’s rigid spine kept her from filling out some of the poignant musical notes in the Snow Pas de Deux, but she countered that with beautiful control during the adagio sections and a fearless approach to the numerous lifts. Guest Artist Shea Johnson continues to work on his technical control and onstage chemistry, which was evident in his tight landings and the confident way he led Leonard through the intricate partnering skills.
The second act contained even more exuberant dance sequences, standout instrumentals by PSO and exquisite performances from individual CCBT company members and guest performers. The dim lighting at the start of the Lemonade Sea section prohibited us from seeing the pretty green hues of the Sea Maidens and Sea Sprites costuming as well as most of Carissa Weaver’s Sea Queen choreography, but the lights did brighten up as we were welcomed into the Kingdom of the Sweets by a dozen cute cherubs.
The variations in the second half were hit or miss. While Brittany Chambers, Marissa Storey and Adrian Aguirre (CCBT Resident Company) had the tendency to rush at times, the trio did handle the playful shifts from staccato to sequential movement in the Spanish dance with polished ease. A stumble earlier in the act threw Emily Dunaway off her game in the Arabian duo, but kudos to her for maintaining the slow, hypnotic feel of the music with her unhurried back arches and leg extensions aided by Michael Stone (CCBT Resident Company). Katelyn Benhardt and Sophie Ludwig were not always in unison during the Chinese variation, but they attacked the nuances in the fast-paced number with exacting pointe work and endless energy.
Aurelia Han, Lauren Huynh and Abigail Linnabary did not miss a beat or, in this case, a ballonne (a step in which the dancer springs into the air extending one leg to the front, side or back) in the Merlitons variation, while Reid Frye (CCBT Resident Company) wowed viewers with his acrobatic skills as the Trepak. Linnabary, Huynh and Weaver also embodied the ethereal qualities of the lead fairies in the Waltz of the Flowers with their flickering foot work, graceful arm positions and subtle musicality.
The highlight of the evening was the Grand Pas de Deux between the Sugar Plum Fairy (Adiarys Almeida) and her Cavalier (Taras Domitro). Almedia was the epitome of a prima ballerina with her technical fortitude, amazing body control and musical maturity. It appeared as if her body was the source of the music as she twirled, leaped and fluttered across the stage. Domitro also entranced the audience with his tender handling of Almedia during the various dips and balances in the partnering sections as well as his explosive leaps and quadruple pirouettes.
<< This review was originally posted on TheaterJones.com.