Sunday, December 3

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A review of the Joffrey Ballet by Lauren Warnecke in The Chicago Tribune.

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That Wheeldon continues to tweak and refine his ballet encourages those of us who watch it year after year. And it becomes an ever more magical spectacle for those encountering this “Nutcracker” for the first time. For Joffrey’s part, it cannot be danced better, yet sections of Wheeldon’s choreography remain awkward and unwieldy. No ballerina should be asked to splat to the ground and spin around on her rear end in a tutu — certainly not one tasked with doing so earnestly and gracefully. Somehow, they do. Lest that sound too negative, it’s worth repeating that this scene is intensely beautiful and infused with unflappable joy — turned up to 11 when a corps of tiny “snow babies” flit through this winter wonderland.

 

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A review of Kansas City Ballet by Hilary Stroh for Bachtrack.

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But let’s not be Scrooge about it either. To bring to this well-loved classic a zest and freshness and to know that one is creating magic for an audience filled with the excitement of the holiday season, is always desirable, and I get the impression that the Kansas City Ballet, with Devon Carney’s charming production to rely on, manage to achieve that year after year. Even more arresting is the fact that any of the twenty-five performances from now until Christmas evening might be the first (and in some cases only ) ballet for some impressionable young children, and that they will invariably be smitten by its lovely dancing, relatable narrative and superb theater. Self-inflating Christmas tree? Check. Snow on the stage? Check. Flying toy maker with a cloak for wings? Check. Hot air balloon? Check. (This is Kansas, after all). Suspend our collective, cynical disbelief for 2.5 hours: let’s relive the magic of childhood all over again!

 

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A review of Queensland Ballet by Ruth Ridgway for Bachtrack.

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Bronte Kielly-Coleman was a sweet, joyful Clara, making Vito Bernasconi’s Dr Drosselmeyer seem even more sinister, dominating the stage in his elegant 18th-century costume and black eyepatch, flirting with Clara’s susceptible mother (Georgia Swan), and performing magic tricks with panache. Generally, however, the party seems to go on a long time with not much dance, and a lot of milling around.

 

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As Dayton Ballet retires its current production of The Nutcracker, dancers reminisce about their time in it.

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JOCELYN GREEN

Role: Sugar Plum Fairy in the 2016 and 2018 productions.

What do you recall the most from your role?

My greatest memory is the first time on stage as Sugar Plum, feeling the quiet anticipation of the audience as the orchestra played the first few notes of my variation. The music is so iconic, and it felt like you could hear a pin drop in the Schuster. A thought flashed across my mind of “I’m really doing this!” I suddenly felt a complete sense of calm as I went on to dance and enjoyed every minute of it.

 

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Dancers from San Diego's two classical companies talk about visa requirements.

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Breschi and Ito joined City Ballet in 2017.

“The first time you get a dancer on an O-1 visa, it’s good for three years,” Emery explained.

“After that, you have to renew every year. It’s an inch thick of paperwork. You have to show documentation, like programs, awards, newspaper articles or letters of recommendation from teachers and directors who can attest to the dancer’s skills. You also have to show your history of consistent programming.”