PNB Digital Nutcracker 2020

[seattle_dancer]

I know it has been mentioned elsewhere that PNB is streaming its version of Balanchine's Nutcracker, but I wanted to give it it's own thread and let you all know CASTING HAS BEEN POSTED, if you were waiting on that.  

Two ticket levels:

$39: Eight days of streaming 12/18-12/26

$55:  An extra week in addition to the eight days of streaming, 12/11-12/26, plus bonus content.

Buy for yourself and also buy as gifts here:  http://www.pnb.org/nutcracker (casting all the way at the bottom).  I also noticed you can add on the remainder of the season (4 programs) for $155.  There will world premieres by Donald Byrd and Chris Wheeldon later in the season.

This version premiered with all new sets and costumes designed by Ian Falconer (of New Yorker and Olivia the Pig fame) in 2015.  The colors are quite vivid and the sets and costumes are so new, sparkly and fresh.  It's quite nice to see if you live in a place that can be dark and dreary in the winter (like Seattle!).

[Helene]

The Falconer sets and costumes are spectacular.

Balanchine was telling a very different story than Stowell and Sendak, and I think the Falconer designs are a perfect fit for the Balanchine.

[Helene]

I was slow getting to this, but I'm glad I watched on an afternoon where I had lots of time and energy and no other pressures.  I just love this physical production!  I've never sat that close, and I was so glad to see the details in the filming, of the sets and costumes, and also to be able to see the beautiful clarity and detail in the dancing -- I've seen the Sugar Plum Fairy variation at least a hundred times by now, but watching Biasucci up close was a revelation -- and the mime, from the Prince's narrrative in Act II, D'Ariano's expression as Mother Ginger, Seth Orza's Drosselmeier, and Porretta's Founding Father of a Grandfather: no "oy my aching back," but dignity and presence, even if time had slowed him down.  

The other joy was listening to the orchestra, and, due to the miking and balancing, hearing the score anew, with details in the harp and percussion I'd never noticed before.  We also got to see Dec (Arabian) and Mullin (Hot Chocolate), which was bittersweet.