Tag Archives: Tyler Angle

Review: The Nutcracker, Chamberlain Performing Arts

Holiday Highs

Chamberlain Performing Arts delivers another delightful showing of The Nutcracker to a packed audience at the Eisemann.

The Nutcracker from Chamberlain Performing Arts. Photo: Sharen Bradford/The Dancing Image

Richardson — There are only a few Nutcracker productions that I would be willing to see year after year in the Dallas-Fort Worth Metroplex and Chamberlain Performing Arts’ (CPA) annual The Nutcracker definitely makes the list based on the following criteria: Location, special guests and entertainment value.

Conveniently located right off Central Expressway and the President George Bush Turnpike, the Eisenman Center for Performing Arts is an easy drive for those living in North Dallas and Collin County. Parking is a breeze and there is no bad view of the stage anywhere in the 1,550-seat Hill Performance Hall, which was more than half full at CPA’s Saturday afternoon showing of The Nutcracker. The large stage easily accommodated all of the company’s vibrant set designs, including a portable sleigh, a large grandfather clock, and a twinkling Christmas tree that grows to twice its size during the show. Glitzy costumes in an array of festive colors and well-suited lighting as well as a reliable sound system all created a sturdy foundation for the CPA dancers and guests, which included Tiler Peck and Tyler Angle of New York City Ballet.

This is the fourth time I have seen Peck and Angle perform as The Sugar Plum Fairy and her Cavalier in CPA’s Nutcracker and these two crush these roles every year. Their musicality and performance quality undeniable as was evident in their lifts, dips and transitions between body frames in the grand pas de deux. Both demonstrated unyielding strength and control during their solo sections in which Peck effortlessly completes a series of piques in a large circle while Angle ate up the stage with his grand jetes and front and back traveling brises.

It was also a pleasant surprise to see Adrian Aguirre of Bruce Wood Dance in the Arabian variation and in the mighty role of Snow King. His upper body strength could have been used more for the ballet-inspired movement in the Arabian dance, which he proved capable of earlier in the lifts in the snow pas de deux with CPA’s company member Katherine Patterson. Patterson nailed the back arcs and fluttering arm movement that are signature of the Snow Queen and also appeared confident in the assisted turns and off-centered partnering poses with Aguirre.

Special guest Michael Stone did a nice job of guiding us through the party scene at the beginning with his younger, hipper interpretation of Herr Drosselmeyer. His exuberant pantomiming and quick walking steps kept the other performers, especially the adults, on their toes during their dance sequence. The children did well at following directions and drawing the audience’s attention to different parts of the stage. I would have liked to see the youngsters performing more rudimentary ballet travelling steps to get them from place to place instead of the shuffling runs they were doing. Their posture and turn out prove they are capable of more.

Andrea Ghisoli did a commendable job as Clara. She was strong and clear with her gestures and soft shoe work, but needs to continuing working on her feet so that they are pointed at all times even when she is pretending to sleep on the couch. Laila Aranha, Angela Fan, Selim Kim and Sara Ann Posey displayed beautiful epaulement during their petit allegro section in the party scene, but should also continue to work on strengthening and lengthening their legs moving forward.

Both Annika Haynes and Zander Magolnick excited the crowd with sharp hand and leg placements and clean turns as the ballerina and soldier doll while company member Bianca Burton brought a fresh perspective to the battle scene with her Rat Queen characterization. Her swishing hips and sassy tutu were a welcomed addition to the otherwise standard choreography, which featured militant formations and syncopated foot work and a short sword fight between Burton and The Nutcracker played by Brian Tseng.

The battle scene smoothly transitioned into the kingdom of snow where members of CPA’s senior company captivated the audience with their spritely pointe work, dynamite musicality and sparkling performance quality. The choreography really highlighted the dancers’ athleticism with its various jumping passes across the stage and complicated petit allegro jumps in center. The peak of the dance came when the dancers entered holding fans with large pom-pom balls on the end, which they flipped back and forth in time to Pyotr Ilyich Tchaikovsky’s well-known score as bubble snow started to fall.

The snow scene set the bar for the second half of the show, which did encompass more challenging technique and a wider range of dance styles, including contemporary, jazz, acrobatics and folk dance.  After Clara and her prince take their seats in the kingdom of sweets, groups from around the world, including Russia, China, Spain and Asia took turns entertaining the couple with a cultural dance.

In the Spanish variation Rachela Distefano, Mika Eppstein, Elisabeth Housley, Cady Johnson, Avery Sifferman and Tori Tseng were fun and playful toward to the audience with their foot flicks, rolling shoulders and saucy skirt swishes. This playfulness was carried through to the Chinese variation where the dancers created some lovely living pictures such as the rotating flower using colorful oversized hand fans. Magolnick returned in the Russian group dance where he once again wowed us with his stamina with his repeated toe touches and triple turns while guest artist Jared Fletcher kept us laughing with his over-the-top gestures as Mother Ginger.

Rachel Weingarden had a little trouble finding her center during her open solo as the Dewdrop Fairy, but quickly found her balance and earned a round of applause for her breathy release after a series of fast chaines into an arabesque hold.

I appreciated the cohesiveness of the upper body lines of the roses (Housley, Lowe and Patterson) as well as their turnout when executing the adagio movement in the Waltz of the Flowers. The rest of the senior company captured the essence of the waltz with traveling triplet steps and swirling formation changes that ended in a dynamic group picture. In some places the dancers’ pointe work did not match the energy radiating from their arms, but that is something that can be corrected in the studio.

As mentioned earlier, Peck and Angle closed the show with their magnetic performance in the grand pas de deux, which will be one of the reasons I put CPA’s Nutcracker on my calendar for next year. In addition, the show’s finely-tuned setup from lighting and set changes to well-rehearsed children sections makes it a great bet for any family’s annual holiday dance tradition.

This review was originally posted on TheaterJones.com.

 

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Review: Chamberlain Performing Arts’ Nutcracker

Chamberlain Performing Arts delivers strong technique and spectacular guest artists at the company’s 31st Nutcracker production this weekend.

CPA-NUT
Tiler Peck and Tyler Angle in Chamberlain’s Nutcracker. Photo Ryan Williams

Richardson — Oh, the weather outside was definitely frightful last Friday evening, but the mood inside the Eisemann Center for Performing Arts was festive as audiences eagerly took their seats for the Chamberlain Performing Arts’ (CPA) 31st showing of The Nutcracker. What sets this company’s Nutcracker apart from other productions in the area is Artistic Director Kathy Chamberlain and her team’s minimalist, yet effective approach to the stage design and movement choices, thus turning the typically cumbersome party scene into an exciting dance narrative filled with nonstop action and clean choreography.

The simple set design in the party scene, which included a handful of gifts, a large grandfather clock, a couch and a chair enabled the audience to focus more on the children and adult dances as well as the subplots taking place around the room. Choreographers Chamberlain, Richard Condon, Lynne Short and Catherine Turocy combined rudimentary ballet steps i.e. chasses, balances, relieve plie and bourrees with various regimented formation changes and even some boy/girl partnering walks in the children’s dances, creating an effect that was both clean and captivating. By intermingling the adults and children into one waltz section, the choreographers successfully kept the energy and storyline moving at a chipper pace.

Katherine Patterson (Clara) perfectly captured a child’s innocence and wonder when it comes to Christmas with her endless energy and shining stage presence. And while Patterson had a tendency to cut her movements short, when she did complete her line in an arabesque hold or sous-sus in fifth, it rivaled the lines of the older company members. With more time and training she will be a force to be reckoned with in coming years. Clara’s friends (Madison Cox, Emily DeMotte, Annika Haynes and Mary Rose Vining) displayed beautiful musicality and body control in their petit adagio section, which featured alternating leg extensions and arm placements and deliberatepique steps, all the while holding baby dolls. Guest artist Joshua Coleman really played to the younger audience members in his role as Herr Drosselmeyer with his over-the-top facial expressions and well-executed magical illusions, which included an impressive disappearing act.

CPA Senior Company Member Bethany Greenho did a commendable job as the Snow Queen. Even her sometimes stiff back arches and locked hip joints in her battements couldn’t take away from her swan-like arms and nimble pointe work nor the way she fearlessly went for the pas de deux’s momentous lifts.  Dallas native Travis Morrison, who performed with the Colorado Ballet from 2006 to 2012, inspired Greenho’s confidence with his unwavering strength and razor-sharp focus during the lifts and tricky counterbalance body positions spread throughout the dance. The snowflake dance lacked some of the elasticity demanded by Tchaikovsky’s score, which falls more on the choreographer’s shoulders than the dancers as the movement in the section catered toward more gliding steps and sustained body positions rather than constant spritely jumps and steps. The hand-held fan-like props with tiny snowballs attached at the ends drew attention to the dancers’ strong body lines and made for a memorable ending to the first half of the show.

The second half in which Clara and her Prince entered the land of sweets gave the whole company the opportunity to show off their artistic growth and technical versatility and also featured some amazing performances by special guests, including Harry Feril (Bruce Wood Dance Project) in the Arabian section and Tiler Peck (New York City Ballet) and Tyler Angle (New York City Ballet) as the Sugar Plum Fairy and her Cavalier.

Peck and Angle’s chemistry was undeniable as they executed the complex reverse promenades into a ponche arabesque and the multiple over-the-head lifts including the dynamic fish bowl dip at the end with expressive abandonment. Their luminous auras and technical finesse portrayed at the end of each move, especially after the lightening-quick seven assisted pirouettes into a sustained back arch, is not something that can be taught. Their magnetism as a couple didn’t fade in their solo sections, which featured impressive jumps and controlled landings by Angle and bold lines and unwavering confidence from Tiler in the infamous diagonal chaine, pique turn combination in time to the changing rhythm of the music.

Lisa Hess Jones’ clever choreography in the second half played to each group’s specific skill level from the synchronized walking patterns of the itty bitty angels and the simple soft shoe work of the intermediate bakers and bon bon’s to the more technically advanced pointe work of the marzipans and the Waltz of the Flowers. The end result was one of the most well-rehearsed and lively second acts of the Nutcracker I have had the pleasure to see this season.

Senior dancer Luke Yee wowed audiences with multiple toes touches in the Chinese dance as well as in the Russian dance where he performed alongside Southern Methodist University dance major Alex Druzbanski. Henry Feril showed off his modern background with his hinged-back body layouts and swooping arm movements before assisting Katherine Lambert in a number of shoulder lifts and body dips in the Arabian section. Greenho, Breanna Mitchell, Raquel Dominguez, Aidan Leslie and Serena Press enthralled viewers with their beautiful lyricism and solid pointe work while playing their flutes in the marzipan dance. The whole senior company returned for the Waltz of the Flowers in which they effortlessly captured the nuances in the music with their constant weight shifts on pointe and dynamic crisscrossing jumping sequences. Definitely, a Nutcracker worth seeing again next season!

This review was originally posted on TheaterJones.com.