Pyotr Ilyich Tchaikovsky composed only three ballets, but he’s still regarded as one of history’s foremost ballet composers (along with Igor Stravinsky and Léo Delibes). His Swan Lake (1876) and The Sleeping Beauty (1889) have long enjoyed immense popularity, but neither is produced nearly as often—or made such an indelible impression upon its audiences—as his final ballet, The Nutcracker. Tchaikovsky wrote it at the behest of the maître de ballet of the Russian Imperial Theatre, Marius Petipa, who had so brilliantly brought The Sleeping Beauty to the stage years earlier. Though he was somewhat less than enthusiastic about the piece originally, Tchaikovsky gradually warmed to the project as he wrote dance after dance at his home in Frolovskoye in January 1891, writing to his brother, “I am laboring with all my might, and am beginning to be reconciled to the subject of the ballet.” Such reconciliation meant that The Nutcracker would eventually become one of his most familiar and best-loved works.
Based upon Alexander Dumas’ version of The Nutcracker and the King of the Mice by E.T.A. Hoffmann—the great Romantic writer of fantastical tales—the ballet centers on Clara, a young girl who receives a nutcracker in the form of a soldier one Christmas Eve from Drosselmeyer, her godfather. Tchaikovsky began by writing small dance sequences and the work’s overture, creating what would become famous as The Nutcracker Suite, Op. 71a, which premiered even before the full ballet had been scored.
In the score he incorporated a celesta, a new instrument he encountered while composing the piece in Paris. Writing to his publisher with some enthusiasm, Tchaikovsky described the celesta as “something between a piano and a glockenspiel, with a divinely beautiful tone,” and requested one be made available to him for his new work. He also asked his publisher to keep this strictly hush-hush—Tchaikovsky wanted to be the first to spring it on unsuspecting audiences and feared “that Rimsky-Korsakov or Glazounov will smell it out and take advantage of its unusual effects” before he could. As it turned out, indeed the secret was safely kept; he wonderfully revealed the instrument in the famous Dance of the Sugar Plum Fairy.
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The most musically colorful part of the ballet takes place in the Kingdom of Sweets at the start of Act II. In traditional productions, this is where the Sugar Plum Fairy presents Clara and her nutcracker-turned-handsome prince a grand divertissement—a wonderful series of idiosyncratic dances. Milwaukee Ballet Artistic Director Michael Pink has altered this scenario somewhat, reimagining it for Marie (Clara’s sister) and Karl (Drosselmeyer’s nephew). In this scene, we find the spicy Spanish Dance, languid and exquisitely orchestrated Arabian Dance, humorous Chinese Dance, lively Russian Dance and glorious Waltz of the Flowers. As was his wont, Tchaikovsky’s supply of beautiful, evocative themes never runs out, and his orchestration remains brilliant throughout. In the gorgeous Waltz of the Snowflakes, Tchaikovsky utilized a children’s choir. He also used toy instruments—perfectly in keeping with The Nutcracker’s child-centered storyline.
And it is precisely that youthful focus that catches Pink’s attention. In the original story, only Clara and her nutcracker-prince go to the Kingdom of Sweets, but Pink’s version includes Clara’s brother Fritz, Marie and Karl for, as he explains, “a journey that would include all the members of the family.” Likewise, Drosselmeyer assumes a larger role; in Pink’s hands, he “basically controls the whole fantasy.” The Milwaukee Ballet’s Nutcracker stage is resplendent with color, decoration and action and populated not merely by the young characters at the heart of the story, but other children as well; it’s a place where “kids have the ability to be themselves; it’s like a big playground,” as Pink states. “Audiences are always blown away by the sheer spectacle of The Nutcracker. Yet at its heart, it’s a heartwarming story about all the magic and mayhem that can happen when families get together for the holidays.”
“Blown away” is an accurate description; who wouldn’t be so by experiencing first hand a lavish production that features more than 200 dancers, 145 costumes, special effects gadgetry and—underscoring all the eye candy—Tchaikovsky’s great music performed by the Milwaukee Ballet Orchestra and the Milwaukee Children’s Choir.
The Nutcracker runs through Dec. 27 at the Marcus Center for the Performing Arts, 929 N. Water St. For tickets and further information, call 414-902-2103 or visit milwaukeeballet.org.
