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[dirac]

A review of Washington Ballet's Nutcracker by Sarah Kaufman in The Washington Post.

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The canned sound at the Warner Theatre is an especially villainous mood-killer in the ballet’s first act, which opens in a well-appointed Georgetown mansion of 1882. By all the indications of Peter Horne’s luxuriously detailed set design, only ranking instrumentalists would be expected to entertain those gathered there. Instead, Tchaikovsky's exuberant flutes and majestic crescendos meet a roaring doom inside the speakers and fall heavily on the ears. (The weight of this is directly proportionate to one’s proximity to said speakers. My advice, if you go, is to avoid the close-in side rows.)

[dirac]

A preview of New Haven Ballet's Nutcracker.

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New Haven Ballet’s version, choreographed by Artistic Director Jared Redick, opens Friday at 7 p.m. at the Shubert Theater for four performances over the weekend, featuring the company and principals from the Boston Ballet, one of them Redick’s former longtime partner, Misa Kuranaga, who will be the Sugar Plum Fairy on opening night.

[dirac]

A review of Collin County Ballet Theatre's Nutcracker by Katie Dravenstott for TheaterJones.

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CCBT's collaboration with the Plano Symphony Orchestra, led by guest conductor Leslie B. Dunner, was enthusiastically received and acoustically well-suited for the Hill Performance Hall at the Eisemann Center in Richardson.

[dirac]

A review of Ballet West's Nutcracker by Kathy Adams in The Salt Lake Tribune.

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Ballet West is preparing to take its "Nutcracker" to The Kennedy Center in Washington, D.C. next week, and judging by Friday’s opening night at The Capitol Theater, they’re ready.

[dirac]

A story on the challenges faced by Canadian boys who study dance.

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Ballet schools want parents to recognize that sexual orientation has nothing to do with it. "The boys who dance, they dance because they love it, despite the ridicule, despite the assumptions," says Sean Richardson, a Vancouver-based expert specializing in the psychology of excellence, who was a consultant to the Australian Ballet Company in Melbourne for five years.