For those who know me, and have known me for some time, they are probably well aware of my passion for, and general interest in dance, most recently with my fascination and studies through the world of Flamenco. I even wrote a bit about it in my last piece, my review for the Pacific Northwest Ballet’s second season installment, “All Tharp”, which closed a matter of two weeks ago (and hopefully, many if not all of you managed to catch it!)… I have a little story to tell you readers out there. One I sincerely hope you’ll identify with, or at least one which you’ll bestow your deepest pity.
In 1999, I was finally involved with a production of “The Nutcracker”, which had been performing annually for some ten years in Langley, which is a cute little tourist trap on the south end of Whidbey Island, and also serves as my hometown. Whidbey Dance Theatre, to this day, still mounts this timeless ballet, and it continues to grow and expand and change. The year I was involved, they had moved to a new location, which was much bigger and more accessible for the magic they wanted to create, and on top of it, they changed the story’s second act from the traditional candy-land to a mystical forest, incorporating many creative ideas into the individual dances: aerial fabric artists performed during the Arabian number (“Dance of Coffee”), firebirds sparkled during the Spanish dance (“Dance of Chocolate”), and a woman (played by a man in drag) with a gigantic beehive for a skirt would open a door in front of her digs, and out came tiny little children as butterflies and bumblebees (more commonly known as the Mother Gigogne dance.) I was involved in a few scenes, but the most important part to me was that of portraying the obnoxious brother of Clara (our heroine) during the first act. At first, it was a sense of victory, as there was this jerk – literally, like the kind of guy who probably cheers on the bullies who are now being silenced by movements like “It Gets Better” – well, this jerk was a total macho guy who happened to appear in “The Nutcracker” a year or two before me, in a very minor role – well, like, this jerk punched me in the gut once at a friend’s party, and later dated the girl I thought I was in love with all throughout seventh and eighth grade… ahem. Anywho, I had a better role than he did, and at the time, I was so proud of myself. I don’t think that jerk ever took ballet in the first place, but I digress. (And I sincerely doubt he’s a jerk anymore.) Well, to sum it all up, there was one matinee I’ll never forget… literally moments before I was to make my entrance from stage right, which was a triumphant “here I am” leap, followed by pushing my sister, and looking through a key hole like any rich German obnoxious kid brother would do on Christmas Eve – my pants ripped, right down the crotch. (I bet that never happened to that jerk, though he deserved it…on stage.) Anyway… I ran to the nearest stage hand, started flailing around like a bat out of … heck … and she began to panic, too. It was, without a doubt, an amusing combination of emotions. So, in a matter of 30 seconds, she managed to find a basket with safety pins, and pin every last one of them onto my pants, holding it together. I felt all right, until, just before I went out, I realized I had a bunch of safety pins in an area where safety pins should never go… unless you’re a masochist and you’re totally into that kind of stuff. Me? At the age of 11? No way. Okay, so super-long-story-short, I survived… some how.
Now, I wonder how PNB would handle that? With professional grace and elegance, I wouldn’t doubt…they probably have a seamstress backstage ready to go at a moment’s notice. Professionalism. Dynamic differences between one company and another. Still, wonderful memories on both ends of the spectrum. Having seen PNB’s version of “The Nutcracker” some years ago, and growing up with WDT’s production every year, I have a soft spot for this particular fairy-tale ballet, as it seems a great deal of America, if not the world, does too. “The Nutcracker” contains an interesting history, particularly brilliant to do some research on, is the process in which the score was written. After Pyotr Ilyich Tchaikovsky struck gold with his score for “The Sleeping Beauty”, he was put to the test by the director of the Imperial Theatres, Ivan Vsevolozhsky, to compose an opera and ballet into a singular evening’s entertainment piece. “Iolanta” and “The Nutcracker” were presented together on December 18th, 1892 in St Petersburg, Russia, and was far from a success. It wouldn’t be until the mid 20th century that the ballet would find a regular, eager audience in the States, thanks to hit productions mounted in New York City and San Francisco.
The production many locals (and reportedly, many from abroad, too) have loved, debuted on December 13th, 1983 at the Seattle Center Opera House, featuring re-envisioned choreography by Kent Stowell, and a smashing design by author Maurice Sendak, which was inspired by the original story the ballet is based on. In 1986, the production was even adapted to film, it was so successful. In the 27th year, this version is still a rich event, highly anticipated, and thoroughly beloved. To many, it’s the quintessential “must” for traditions during the Holidays in Seattle. Who can resist that enchanting moment Clara and the Prince first encounter one another after the battle between the Mouse King and the Nutcracker? The pristine frolicking of the snowflakes that gently whisk you into a vastly too-long-because-you-just-want-more-and-more intermission… the dramatically sensual ambiance wavering off of the eloquent peacock in the second act… and the most gorgeous (yes, I said it) Pas de Deux written for a ballet, which serves as a justified climax to the entire evening. Ah! I think I just metaphorically ripped my pants, I’m so excited!
This is the time, right now, to get tickets to this masterpiece. Visit http://www.pnb.org to check out further information, including the principal cast list, and artistic team behind this year’s “The Nutcracker”. The show runs from November 26th (TODAY!) until December 27th (that’s TWO whole days of performances after Christmas!), and also, this Major bonus! These great events and deals going on:
If you are interested in catching it this weekend, tickets for the 26th and 27th at 7:30 p.m. and Sunday the 28th at 5:30 p.m. are now 15% off, if you use the savings code “SNOWDAY”! Both online, and over the phone at 206-441-2424.
“The Nutcracker” brunch is on November 27th at McCaw Hall from 9:30 a.m. until noon! There will also be a live broadcast of the show on the 27th at 7:30 p.m., and all you have to do is tune in to 98.1 Classical King FM radio, or online at http://www.king.org/listen
Dance on, my friends.
– Aiden Karamanyan
