Milwaukee Ballet’s Nutcracker is Like No Other in the World

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Photo by Rachel Malehorn

'The Nutcracker'

Marize Fumero in 'The Nutcracker'

Many cities across the planet enjoy productions of The Nutcracker during the holidays, but only Milwaukee has the joys of The Nutcracker: Drosselmeyer’s Imaginarium. The world premiere was Friday, December 8, exactly 21 years to the day since Michael Pink arrived in Milwaukee from England to take on the work of Milwaukee Ballet’s artistic director.

Pink defines Imaginarium as “a place where anyone can imagine anything they wish.” Until now, his reimagined take on the tale that inspired Tchaikovsky’s beloved score was constrained by his predecessor’s designs. This new production—completely redesigned and substantially transformed—is Pink’s Imaginarium come full bloom.

The opening night performance in the Marcus Center’s Uihlein Hall was magnificent. I’d imagined that the new costumes, sets, props, lighting and special effects might draw the focus from the dancers. Those elements are amazing—indeed superb—but that’s in part because they’re more than witty and stunning art works. They bring us closer to the dancers. The dancers are the focus. The opening night audience cheered them at every opportunity.

The curtain was raised before the audience arrived. A gigantic backdrop—a darkly impressionist painting of a grand Victorian mansion—filled the upstage area. Downstage, to one side, was a small 3-D setting, a corner of magician/toymaker Drosselmeyer’s workshop.

Ravishing Purple, Knockout Designs

As the Milwaukee Ballet Orchestra conducted by Pasquale Laurino began the famous overture, dancer Garrett Glassman as Drosselmeyer entered to immediate applause. Since he hadn’t danced a step, the applause was surely for his costume, a satin Victorian suit of ravishing purple, the first of a deluge of knock-out designs by Gregory A. Poplyk.

Since by Pink’s definition, Drosselmeyer can bring to life whatever anyone imagines, that purple color reappears in scenery, props, and David Grill’s magical new lighting. Drosselmeyer is ever-present, and in Glassman’s fine performance, ever-welcome.

Drosselmeyer’s nephew Karl arrives to help his uncle gather presents for the family that lives in the mansion. Drosselmeyer’s been invited to perform for the family and guests at a holiday party. His gifts include a toy nutcracker soldier, of course, but also odd things like the head of King Rat who’ll appears in the imaginations of young Fritz and Clara, and their older sister Marie. Marie, we soon learn, is attracted to Karl, and he to her.

On opening night, Clara was danced by Alana Griffith, Fritz by Barry Molina, Marie by Marize Fumero and Karl by Randy Crespo. The run through December 26 will have alternating casts, each exciting. But this quartet—all in top form and well-versed in these roles from years past—gave a great world premiere.

The story proceeds. We’re eased onto the street outside the mansion where brilliantly costumed partygoers are arriving, and a poor little match girl is aided by Karl and Drosselmeyer. Scenery flies, and now we’re inside the mansion’s immense glass conservatory with its oversized doorway, clock and fireplace. This was my favorite of Todd Edward Ivins’ new scenic designs. We get to spend most of Act One there, enjoying the views on both sides of the glass. Later, the room’s dome disappears and a new set piece—a hot air balloon with a purple derby—descends for our heroes.

Nothing essential in Pink’s earlier choreography was changed. Dozens of partygoers—more than I’d remembered from the earlier version—are given opportunities to reveal their characters in social dances, games, gift exchanges, acts of love, and the disposal of a dead rat. Drosselmeyer dazzles everyone with magic tricks and dancing dolls: Parker Brasser-Vos as the gymnast Jack-in-the Box and Marie Harrison-Collins as a Mechanical Doll, a difficult new role impeccably executed.

The clock strikes and multiplies, the Christmas tree grows giant, toys come alive, a castle with a working cannon shoots cheese balls at mouse-headed dancers during a comic battle between King Rat (Craig Freigang) and Toy Soldiers led by the Nutcracker (Crespo).  Nobody’s hurt. King Rat surrenders. Fritz is the hero.

If you’ve seen Pink’s earlier version, you’ll remember that Karl and Marie seal their love in the pas de deux that follows. One of Pink’s finest duets, it’s unchanged and still breathtaking.

The Snow Queen appears behind what looks like solid wall until she steps through it. Exquisitely danced by Lizzie Tripp-Molina, she opens a world of glittering snow that falls across the entire expanse of the stage through the end of the Act One. Ballerinas in sparkling snowflake costumes twirl, fall and slide on the snow-covered floor. Our travelers revel, exalt, and toss snowballs. Then off to new worlds in the hot air balloon.

Act Two has drastic changes, all great. No spoilers here, but thanks to Trumpet Couple Lahna Vanderbush and Marko Micov; Oasis Couple Kristen Marshall and Josiah Cook; Lion Pup Flynn Stelfox; Jacks Remi Wagner and Ben Zusi; and Madame Bon Bon Eric Figuerdo.

Evening and matinee performances run through December 26. Visit milwaukeeballet.org or call the box office at 414-902-2103.