Dancing into Yuletide: a Nutcracker with video projections, another with American historical figures

By Ilena Peng

This article was first published in The DC Line here.

Thanksgiving isn’t the only sign this week that the Christmas season is upon us, with the curtain rising on two incarnations of The Nutcracker ballet at DC theaters. An evergreen holiday tradition that originated in Russia in 1892, the traditional two-act ballet follows a young girl’s adventures through a fantastical land after her magical toy nutcracker comes to life. 

For those who haven’t seen The Nutcracker, imagine if someone were to cross the story of The Wizard of Oz with Dancing With the Stars. Even those who have never attended a dance performance are probably familiar with the music: Portions of Pyotr Ilyich Tchaikovsky’s Nutcracker suite are seemingly a ubiquitous soundtrack of the holiday season.

Locally, the Washington Ballet — which premiered its current version, with an American history twist, in 2004 — opened Nutcracker season with performances last weekend at Ward 8’s Town Hall Education Arts Recreation Campus (THEARC) in preparation for a monthlong run that starts Saturday at the Warner Theatre. For those looking for something less familiar, the Atlanta Ballet brings its new production of The Nutcracker to the Kennedy Center on Wednesday for a five-day visit.

The Washington Ballet at the Warner Theatre: Nov. 30 to Dec. 29

Now in its 16th year of performance, Septime Webre’s The Nutcracker takes place during an 1882 Christmas Eve celebration at a Georgetown mansion. George Washington is the Nutcracker here, and when he battles “the Rat King,” it’s King George III. Other historical figures including Harriet Tubman, Benjamin Franklin and Betsy Ross also appear, as does iconic DC scenery — the famous “Waltz of the Flowers,” for example, is renamed here the “Waltz of the Cherry Blossoms.”

“It’s become a family favorite, certainly a holiday tradition,” said Barbara Berti, public relations manager for the ballet company. “People come with their grandchildren and their parents, and it’s still very appealing to all ages. Everybody loves it.”

DC Theatre Scene wrote in 2017 that Webre’s DC-inspired Nutcracker is “like no other, but familiar enough not to be too jarring to traditionalists.” In a 2015 review, The Washington Post’s Sarah L. Kaufman noted that the production “at times feels too hectic for [the company’s members] to shine.” Instead, it rests upon “the cleverness and adorability of its least-experienced and littlest dancers.” 

Once again this year, the performance schedule began with several shows at THEARC, where the Washington School of Ballet opened its Southeast DC campus in 2005 — complete with a 400-seat theater that’s large enough to accommodate the annual Nutcracker performances.

The schedule at the Warner Theatre, 513 13th St. NW, continues almost through New Year’s Day, and that’s intentional. Berti said the post-Christmas shows allow family members visiting from out of town to see the production after the Christmas festivities are over. 

“Our version is just so beloved and enjoyed by so many — and it does kind of take up the whole month of December,” Berti said.

As for the November dates, the company added six extra performances last year — an effort to boost revenue in light of a $3 million debt, The Washington Post reported. The timing continues this year, although Berti declined to comment on revenue projections or needs.

Three performances will be accompanied by special events: Family Day (Dec. 1), Military Appreciation Night (Dec. 4) and the Nutcracker Tea Party (Dec. 8). 

Family Day features pre-performance activities for children, like coloring and ornament making, as well as opportunities to watch a rehearsal and take photos with dancers. On Military Appreciation Night, cast members and military dignitaries greet audience members prior to a rehearsal of The Nutcracker’s “Soldiers Marching” dance.

The Nutcracker Tea Party, which audiences can attend at the Willard InterContinental Hotel either before or after the day’s 1 p.m. performance, treats guests to refreshments like tea sandwiches and scones (plus mimosas for adults). Party guests can also take photos with the Sugar Plum Fairy and other dancers.

The Atlanta Ballet at The Kennedy Center: Nov. 27 to Dec. 1

The Atlanta Ballet’s first appearance in recent memory at the Kennedy Center features the company’s new production of The Nutcracker, which premiered last year. The production closely follows the traditional storyline from E.T.A. Hoffman’s 1816 tale The Nutcracker and the Mouse King — the predecessor to the 1892 ballet — but adds a modern spin with video projection technology.

The production’s choreographer is Yuri Possokhov, who after 12 years dancing with the San Francisco Ballet is now that company’s choreographer-in-residence. Possokhov first delved into integrating video projection and ballet when he choreographed Swimmerfor the Bay Area company in 2015. 

Possokhov’s works have been performed at companies nationwide such as Chicago’s Joffrey Ballet, as well as internationally at Moscow’s Bolshoi Ballet and the Georgia State Ballet.

The production’s video projections are designed by Finn Ross, who won a Tony Award for The Curious Incident of the Dog in the Night-Time, and the rest of the team is no less stellar — dance-world luminaries Tom Pye, Sandra Woodall and David Finn designed the production’s sets, costumes and lighting, respectively.

This Nutcracker is the Atlanta Ballet’s first major commissioned production by Gennadi Nedvigin, who became artistic director in 2016. Like choreographer Possokhov, Nedvigin is also a former San Francisco Ballet principal dancer. 

In an interview with The DC Line, Nedvigin said the holiday production simultaneously appeals to older generations with its traditional storyline and the younger “video gamer” generation with its digital projections.The latter, he said, “kind of serve as a glue between the real world and imaginary world, and it really fits this story perfectly.”

Possokhov’s Nutcracker’spremiere last year brought more ticket sales than any of the Atlanta Ballet’s prior productions of the holiday classic, and this Kennedy Center run marks the company’s first performances outside of Atlanta in some time. 

Nedvigin said he hopes the performance will spark audience members’ interest in the Atlanta Ballet’s work. He added that he is “super thrilled” to be in DC, having previously danced at the Kennedy Center on several occasions.

“Every time I’m coming back, it’s almost like I’m coming back home,” he said. “It brings a lot of memories from my performing days, and to be able to bring my own company to the same stage is meaning … a lot to me, and I just want to share it with everyone.”

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