It’s come to my attention that perhaps the beloved ballet The Nutcracker was not meant to be a traumatic childhood rite of passage; until recently I had assumed you always left the ballet enchanted but also slightly terrified. That’s just how it was.
But it turns out that Maurice Sendak designed the set that I saw for several years running at a formative age, so it turns out that if you didn’t attend the Pacific Northwest Ballet between 1983 and 2014, this was not a normal part of your experience:
(Photo from The Stranger)
Those teeth split apart, by the way, and came crashing down at intermission. Like a nutcracker. Get it? Also like the nightmares of small children.
Honestly the Sendak/Stowell production is the only stage production of The Nutcracker I’ve ever seen, so I have no idea what parts of the set/choreography are traditional and what are part of a sideways imagination. For example:
(Photo from Michael Hagen)
This is from one one of the scene painters and it’s hard to tell in a still frame, but the Rat King comes out from the side of the stage as the Christmas Tree grows and grows in the background until it eclipses the whole stage. (See the dancers at the bottom for scale.) Oh, and did you notice Herr Drosselmeyer at the top? He’s watching the whole scene, the wings of his greatcoat bracketing the stage. Terrifying.
Sendak also did a book of illustrations because why not bring the nightmares home with you:
(Photo from Dancing Perfectly Free)
For contrast, apparently this is how the Oregon Ballet Theater styled their Ballachine production Rat King in 2009:
(Photo from The Oregonian)
Get on Sendak’s level, Oregon.
In conclusion, apparently The Nutcracker is meant to be sweet and fun, but honestly I’m glad to have seen the Sendak/Stowell production, nightmares and all.
(Photo from Booksridge.blogspot.com)
Thanks Maurice. Here’s hoping for a reunion tour.
The Sendak PNW production is definitely closest to the spirit of the original that I’ve encountered. (See also: me yelling at the Four Realms trailers “This will absolutely NOT be darker than I have ever seen it before. It is FUCKING HOFFMANN and you are Disney.”)
The sweet spot between that and the “benign to the point of boredom” that you tend to see a lot is a really tricky balance.
The Russian-inspired production at BalletMet Columbus when I worked there in the 90s hit it very well, imho, but there are a lot of ways to do it. The filmed ABT one from the 80s with Baryshnikov and Gelsey Kirkland (which I think PBS still runs sometimes) comes close, but falls just a little short on the benign side.
Honestly some of your smaller companies will hit it unintentionally, just by virtue of aiming for a higher level of Gorgeous And Sparkly than their budget can actually muster and landing somewhere a bit creepier.
Whoah whoah whoah @notophelia ! You worked BalletMet’s Nutcracker in the 90s?? I was one of the mice with a bow one year in the late 90s! Do you, by any chance, remember if they added a black cat character to the first half of the ballet? I swear they did, but my family doesn’t remember it, and I was just a wee lass and apparently not a reliable source.
(also, all this explains why BalletMet’s Nutcracker was such a formative experience, and nothing has really come close since. My brother talks about it like every other year, how amazing seeing BalletMet’s version was as kids, but every other version of the show I’ve seen doesn’t quite capture it. I kind of assumed it was just a nostalgia phenomenon)
Yes! And you can prove it. 😄 This article from the OSU paper at the time David Nixon was doing his new version says "all new costumes have been designed for the cat, the mouse king and an expanded mouse family." (For some reason my brain is insisting that Hiromi Ushino was the cat for at least some performances that first year, but I have absolutely no way to know. She was just one of my favorite company dancers at the time.)
I was more familiar with John McFall's choreography, which he had refreshed for the "centennial" production in 1992. That was where the Russian-inspired costumes and sets came in; David used those with only a few new ones because it didn't make sense to do a whole new production from scratch so soon.
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