Photo credit: Mark Frohna
Pyotr Ilyich Tchaikovsky’s score for The Nutcracker (1891) would be his last for a ballet; among the three he composed (the other two being Swan Lake and The Sleeping Beauty), Nutcracker took him the longest time to feel right about. But once he started with the charming Miniature Overture and various characteristic dances, he warmed to it. The result is one of his most famous and beloved scores and, in Milwaukee as well as many places the world over, an annual holiday season favorite.
The story of the nutcracker-turned-prince fairytale via Tchaikovsky is several steps removed from its original source. It was adapted and choreographed by Marius Petipa and Lev Ivanov, which they based upon an Alexander Dumas adaptation of The Nutcracker and the King of the Mice by E.T.A. Hoffmann—the great Romantic writer of fantastical tales. Hence, “seen one Nutcracker, seen them all,” is not a phrase spoken too often. The ballet continues to be tweaked by ballet masters and directors everywhere. Certainly, it has achieved a unique status with the Milwaukee Ballet; in fact, here it’s officially dubbed Michael Pink’s The Nutcracker, referencing first and foremost the fact that Pink is the show’s director, choreographer and artistic director.
This season’s production—its 40th anniversary—continues to be that of the last several years, with only the most subtle of changes and, of course, changes in performers and production staff here and there. In Pink’s capable hands, The Nutcracker is exceedingly kid-friendly. The stage is almost never bereft of one or more children; kids take on some of the supporting roles that in other productions go to adults. I can see where a Nutcracker traditionalist might balk at all this, but it’s hard to argue with Pink’s vision. I noticed, for example, that no matter how quiet a particular scene or dance may be, I could scarcely hear a sound from the audience which fairly abounded with children—many of them in their single-digit ages. That was a sign that the ongoing action we holding them rapt.
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The set design, lighting, costuming and music (the latter from the Milwaukee Ballet Orchestra and Milwaukee Children’s Choir) give the proceedings eye-popping visuals and a finely rendered reading of the composer’s delightful score. I heard no sour notes and witnessed no unfortunate issues with sets or scene changes. Dancing was excellent throughout, but again, purists beware: The plethora of children in the cast means that you’ll see flubs and missteps here and there from the youngsters who are, of course, still honing their craft. But here, too, it’s hard to be critical—especially when you’ve got your eyes wide-open to take in all those dazzling visuals, and you’re wearing a nearly perpetual smile as you just soak it all in.
Through Dec. 26 at the Marcus Center for the Performing Arts, 929 N. Water St. For tickets, call 414-902-2103 or visit milwaukeeballet.org.
