NYCB 2024: The Nutcracker
Megan Fairchild as the Sugarplum Fairy in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
On November 29, 2024, New York City Ballet returned to David H. Koch Theater for their annual presentation of George Balanchine's 'The Nutcracker.' Ballet enthusiasts of all ages filled the house for what was an undoubtedly magical night of dance, and a splendid start to the Christmas season.
From the overture's opening measures, conductor Andrew Litton and the orchestra began to weave their aural tapestry of Tchaikovsky's iconic score, balancing enchantment with a lighthearted verve that kept the spell going wonderfully. The violin soloists that night was Kurt Nikkanen, who was utterly evocative through the heightened, expressive phrases featured throughout.
The corps had no shortage of moments to shine, from the charm of the opening dances during the Stahlbaum's party, to the lush and elegant formations found through numbers such as Snow and Waltz of the Flowers, the stage was almost always bustling with something to catch the eye.
The Company in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
In the role of Marie, Sasi Shrobe-Joseph made an endearing lens to experience the magic of the unfolding story’s earlier numbers. After her moments with Drosselmeyer and his nephew during the ‘Scene dansante’ and following ‘Scene et danse Grossvater,’ her scene amongst the mice and toy soldiers carried with abundant wonder and whimsy as Shrobe-Joseph mustered her courage against Jules Mabies’ Mouse King.
Opposite her was Hannon Hatchett as Drosselmeyer's Nephew/The Little Prince. His youthful courtesy found its mark during his moments with Marie for the party, and he made the most of his time in toy form as he led the offense against the mouse king's forces. His appearance at the start of the second act was an efficient recap as he told the tale of the battle to the assembled company through an articulate series of gestures which conveyed much of the preceding events.
As Marie's Godfather, Herr Drosselmeyer, guest artist Robert LaSalle was an effective and expressive storyteller, responsible for much of the earlier mystique before the story takes off in full. His time during the party showed a kindlier side before the transition to the miniature world of the mice and toy soldiers saw him with unbound hair and flailing limbs atop the grandfather clock.
Megan Fairchild and Joseph Gordon as the Sugarplum Fairy and her Cavalier in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
Dancing the role of the Sugar Plum Fairy, Megan Fairchild was truly captivating. Her andante in the opening of the second act saw her grace the stage with elegant piqué steps, gliding pas de bourrée, and evocative port de bras as she turned and cast her magic about. With Joseph Gordon’s Cavalier, the two demonstrated splendid ease of control through the delicate partnering of the andante maestoso, as well as great athleticism through the stunning lifts and catches that crown the breathtaking conclusion before launching into the coda. Here, they let loose as Gordon’s touring jetés were followed by an expertly-handled series of grand pirouettes fit to whip up a storm, while Fairchild circled in a flurry of brisk, pas de chat hops and later capped off her chaîné turns with a wonderfully deep cambré to bring it all together.
Mira Nadon as Dewdrop in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
As Dewdrop, Mira Nadon balanced dexterity and delight for her appearances during the Waltz of the Flowers. Her energy carried her well through the sprightly leaps and arabesque poses of this section as she made her way amongst the changing figures of the corps. This sense of lighthearted beauty made a perfect transition between the levity of the preceding divertissements to the sheer spectacle of the ensuing pas de deux.
The divertissements of the second act were an excellent source of technique and excitement as the dancers provided a thrilling assortment of styles and moods. Whether it be the flair of the Spanish bolero of 'Le Chocolate,' led by Mary Thomas MacKinnon and Davide Riccardo, to the exotic allure of 'Coffee' danced by Alexa Maxwell, each section provided much to flesh out the land of sweets.
With so much magic, there's little wonder why 'The Nutcracker' remains a cherished staple for families and lovers of dance alike, and NYCB's production highlights all the best aspects with a reverent and dazzling touch. Running through the rest of December, there's no better way to ring in the holidays.
Photo Credit: Erin Baiano
-written by Logan Martell