The National Ballet of Canada/The Nutcracker, choreographed by James Kudelka, Four Seasons Centre, Dec. 10 to 31. Sold out — see here for same day standing room ticket possibilities.
Sometimes fortune breaks in a special way. Because of injuries, performing the lead couple on opening night of the National Ballet’s The Nutcracker fell to newly promoted principal dancer Genevieve Penn Nabity and up-and-coming corps de ballet member Larkin Miller, as the Sugar Plum Fairy and Peter the Stable Boy/The Nutcracker, respectively.
It was also the debut for both dancers in these roles. In fact, they are the only ones of the myriad company members performing the leads who are making their debuts, and here they were, getting opening night. Talk about a windfall.
I’ve been a fan of Nabity since she started getting solo roles soon after she joined the company in 2018. She was promoted to principal dancer from second soloist this year after her sensational debut as Odette/Odile in Swan Lake. To say the least, she did not disappoint as the Sugar Plum Fairy.
Choreographer James Kudelka’s first solo for the Sugar Plum Fairy is full of twists and turns, and tricky leg crosses, which Nabity accomplished with ease. Lesser ballerinas could tie themselves into knots given the intricacies of the movement, but Nabity shone. Her musicality, her pacing, her placement, in fact, her consummate artistry is a joy to watch. This first solo ends with the ballerina jumping onto her toes in a fixed point, and Nabity displayed not so much as a wobble. Her sense of balance and control is impeccable.
I have to say that I was surprised about Miller getting the role of Peter. I associate him with youth roles because of his young face and young presence, but here he was showing off his classical chops. He was a sweet and kindly Peter. His dancing expressed a gentle quality — smooth and easy, yet very accomplished, and he pulled off all the tricks a danseur noble has to do in the role. His performance was one of lyrical grace, rather than an exciting cut and thrust. From what I could tell, he is also a very good partner.
The combination worked. Peter is enamoured with the Sugar Plum Fairy the first time he sees her, and she seems to be a cool and remote idol who is leagues beyond him. Their duet displayed this contrasting dynamic — as if she was doing him a favour, so to speak, and I found it added a frisson of amusement to their pas de deux.
Will Larkin develop the punch that creates the thrill of excitement? Who knows, but at the moment, he is a very, very strong, if slightly diffident classical leading man, and I certainly enjoyed his performance, as did the audience.
Other lead roles are the Snow Queen (principal dancer Svetlana Lunkina) and her so-called Icicles (first soloist Spencer Hack and second soloist Kota Sato.) It’s much nicer to call them her Swains, I think. Kudelka, in his rethink of the original 1892 ballet, turned The Land of Snow into a breathtaking, uber-difficult trio, plus a complex corps de ballet of Snow Maidens. (Lunkina also got the opening because of an injury.)
I always expect exquisiteness from Lunkina with her immaculate Bolshoi training and experience, and she never seems to disappoint. She is discipline writ large and, in my eyes, is always perfection. Hack and Sato are both very strong dancers, and completely captured the majestic, stately air of the Queen’s companions. Those seemingly impossible upside-down lifts of the Queen went off without a hitch. I have to say, I continue to be in awe of this trio every time I see it, and I consider this innovation to be one of Kudelka’s most adventurous and daring choreographies.
The role of Uncle Nikolai (principal dancer Ben Rudisin), who also benefited from an injury, has the showiest dancing in Kudelka’s version. He is literally a spinning, jumping top that never stops, and Rudisin pulled off the role in suitably flashy manner — all crisp, tight and sharp. Baba the Nurse (principal character artist Alejandra Perez-Gomez) was originally created for a mature dancer (Victoria Bertram) so the heavy dancing is limited, but Perez-Gomez was elegant in the role.
Another Kudelkaism was adding in the perpetual motion, female solo of a Bee to the Waltz of the Flowers, and first soloist Jenna Savella pulled off the difficult role in her usual efficient manner. I literally don’t know how she keeps breathing with the non-stop choreography, but she is literally a Speedy Gonzales on point shoes.
Let’s not forget the sister and brother at the heart of the ballet, Marie (Aviva Goad) and Misha (Tom Hulshof). These two young students from Canada’s National Ballet School were excellent, both artistically and dramatically. They brought their roles as the battling siblings to vibrant life.
There are usually one or two dancers who catch my eye, and become ones to watch. In this performance it was the Sheep (corps de ballet Clare Peterson) and the Fox (second soloist Noah Parets).
Peterson was sprightly and charming and coy, as well as being a sylph on point shoes. Every move was detailed and she was a joy to watch. In fact, I would go so far as to say impressive. Parets proved to be a jumper supreme, full of dash and vigour. Their duet sparkled.
As for the ballet itself, I found the first act party scene a bit sloppy and muddled. I also found the children and adults who were not dancing at the moment to be just huddled on the sides. I’ve always found the Cats and Dogs and Mice sequence to be over-busy, and this time it seemed to be even more crowded, confused and squashed together.
And things I love were missing. For example, the country cousins arrive at the party in the barn just as the three servants are getting control of the samovar and feast on a big tray. When the guests clap for the servants, the country cousins think it’s for them. It always gives me a laugh.
In other words, the first act suffered from a real lack of clarity. (And when will the three servants ever get their names in the programs because they do a fair bit of serious dancing?)
But let’s end with what is still striking and notable about the Kudelka version, in no particular order.
The students of Canada’s National Ballet School, who carry so much of the show on their young shoulders. The Snow Maiden corps de ballet, who have to run for their lives given the speed of the music and the complication of Kudelka’s patterning. The eye-catching divertissements in The Land of the Sweets that include the breakneck romp of Spanish Chocolate, the gorgeous, imperious Arabian Coffee pas de quatre, and the gymnastic Waiters. The laugh-out-loud humour of the little Chefs, and yes, the motorized barn rat still makes me giggle.
And of course, Santo Loquasto’s simply splendid and sumptuous sets and costumes (although the Russian theme is sort of tainted this year).
As for the National Ballet Orchestra under maestro David Briskin, Tchaikovsky’s glorious music just shimmered in all its beauty, and there was real drama throughout the score. The Coda was particularly thrilling.
I am on record as stating that Kudelka’s version is the best Nutcracker on the planet. I don’t know how many times I have seen the ballet since its debut in 1995, and you know what? It is still the best Nutcracker on the planet.
#LUDWIGVAN
Get the daily arts news straight to your inbox.
Sign up for the Ludwig van Daily — classical music and opera in five minutes or less HERE.
- INTERVIEW | Actor Diego Matamoros Takes On Icon Walt Disney In Soulpepper Production Of Hnath Play - April 16, 2024
- SCRUTINY | Opera In Concert Shine A Light On Verdi’s Seldom Heard La Battaglia Di Legnano - April 9, 2024
- SCRUTINY | Lepage & Côté’s Hamlet Dazzles With Dance And Stagecraft Without Saying Anything New - April 5, 2024
