The 11th annual production of The Nutcracker (Nov. 30 and Dec. 1) is a delightful collaboration between Shea’s Performing Arts Center, Neglia Ballet Artists, and the Buffalo Philharmonic Orchestra.
It’s a triple win for the value of cultural partnerships: Buffalo’s most beautiful venue, our world-class orchestra, and a ballet program that features local students and has enough star-power to attract a stunning line up of guest artists is the best of all possible worlds.
If that isn’t enough, the production is lovely from the moment we hear the opening notes of Tchaikovsky’s luscious score to the moment the gilt-fringe curtain falls.
Then there’s the whole Christmas spirit going on, too. Shea’s carefully curated elegance is tastefully decked out in white lights and pine bough. The audience is full of families with little ones in their holiday best. The whole vibe is wonderfully infectious and a harbinger of the holiday month to come.
The story is familiar: it’s Christmas eve at the Stahlbaum house and friends and family members gather for gifts. The mysterious (read: slightly creepy) Herr Drosselmeyer (Paul Mockovak) arrives with life-size toys and magic tricks, and a special gift for the Stahlbaum daughter Marie (Director Sergio Neglia opts to call her Marie as his mentor George Balanchine did; most other productions call her Clara.) It’s a nutcracker and Marie is entranced. Brother Fritz breaks it in a jealous moment and Drosselmeyer repairs it post haste. Marie falls asleep with her gift and is awakened by a frisky mouse…and a room full of rats. The Nutcracker comes to life and with an army of soldiers (and some help from Marie) he slays the rat king and his band of vermin. More Drosselmeyer magic saves the Nutcracker as a handsome Prince and fast-forwards young Marie to young adulthood. They dance their way around the world through heritage soloists and sweets.
It’s the local kids as the mice, rats, snow flakes, angels, cupcakes, baker, and soldiers with the impressive cast in the featured roles; they meld perfectly as storytellers and interpreters of Neglia’s choreography. Neglia himself is the Nutcracker, an imposing figure. Standouts were youth dancers Zoe de Torres Curth, (Marie) a Buffalo Seminary student who moved here from her native Argentina to study with Neglia, and Nardin Academy senior Ava DiNicola,(one of the three Mirlitons) both dancing in featured roles.
Dancers are athletes, artists, and storytellers; to convey a story without words is an art in itself. Neglia and this troupe remind us of this graceful and powerful complexity. It’s easy to be drawn into the story and be swept away by the music and the dance.
The scenic design is exceptional: Lynne Koscielniak is responsible for the original renderings and Dyan Burlingame (the resident set designer for Road Less Traveled Productions) with Jon Shimon, Michele Costa (her theatreFiguren skills created character masks and the toys, too) and Roger Schroeder created additional imagery in the first act. Burlingame also designed the lighting which featured some lovely hues that highlighted Donna Massimo’s jewel toned costume designs. It’s all well balanced, like a painting come to life.
An act one glitch: during a lovely duet, the gentle fall of on-stage snow became a Lake Effect squall for a moment as too much faux snow fell in a big flurry. Like good Buffalonians, the pair danced on.
Buffalo is ballet starved for sure: those of us of a certain age remember the days of yore at ArtPark when a ballet company was in residence each summer. We were treated to traditional and contemporary works as regularly as the current regime brings in ‘70s and ‘80s rockers. Times changes and companies like Neglia Ballet Artists help keep dance accessible to a broad albeit niche audience. Neglia is also training tomorrow’s dancers and dance audiences that will keep the art form alive here. Bravo!
The Nutcracker is a full and well-paced two hours with a 15-minute intermission. Details at http://www.negliaballet.org.