The fur-trimmed Rockettes aren't the only Christmas spectacular in town this year. Boston Ballet's "The Nutcracker" opened at the Colonial Theatre on Nov. 26 with an exciting new production.
When artistic director Mikko Nissinen arrived at the Boston Ballet in 2001, he found that over the years, five different choreographers had already contributed to the holiday classic.
This year, Nissinen promises many surprises to the traditional storyline; perhaps these are symbolically the Bostonians' presents from Nissinen, just as Clara's Nutcracker is a gift from her Uncle Drosselmeier. Nissinen introduced new choreography for Act II last winter and, this season, he has unified his vision of the classic with entirely new choreography of Act I.
Seasoned "Nutcracker" attendees will not only find this year's production more cohesive in vision, but they will also be surprised by new costumes, lighting, and a new theater. Almost one third smaller than the Wang Theatre, which is the usual home of the Rat King and the Nutcracker Prince, the Colonial Theatre hosts the production this winter. With only half as many seats as the Wang, the theatre has an intimacy which has been considered by the show's directors to be beneficial and consistent with the inspiring message of the holiday favorite.
"This art form is about creating an illusion," Nissinen said in a press conference.
The new scenery, lighting design and costuming each contribute to the overall atmosphere that Nissinen and his directors have created onstage at the Colonial Theatre.
Lighting designer Pierre Lavoie, who has worked on several other Boston Ballet productions, has truly transformed this year's "Nutcracker" into a visual masterpiece. Working with the Boston-based Color Kinetics, LED lighting technologies allow transitions between colors to be smooth and virtually unnoticeable.
Roughly 400 foot-long strips of lights are positioned from several angles around the stage so that the light not only moves cleanly (from red to green, for example), but also allows for the whole stage to be washed in an even coat of color.
As a result of the magnificent lighting, the costumes and scenery have risen to the task of cooperating with the new color scheme of "The Nutcracker." Glittering snowflakes float above the dancers in the snow scene at the end of the first act, creating the image of a snow globe, according to set designer Walt Spangler.
Costume designer David Walker made new Act I costumes in a style more consistent with that of the setting of the ballet, Nuremburg, Germany in 1886. He claims that using lighter colors in the Party scene accents the lighting design.
Particularly breathtaking are the costumes of the Columbine and Harlequin dolls that Clara's uncle brings to life to entertain the party children. Many patches of silk taffeta form the Harlequin's vest and the Columbine's skirt, and wool lace accents her bodice, making the characters seem as though they were animated from a storybook.
Nissinen has choreographed more challenging dances for the Mouse King and the Nutcracker Prince. The Nutcracker's transformation from toy to prince also happens onstage this year (surprise!).
For both of these reasons, the masks of the two main characters are unbelievably light -- no more than one or two pounds -- and are also heat sensitive, lightweight, and translucent so the dancers can sweat, jump, and see where they are leaping at the same time.
Though the first act is completely new this season in choreography as well as costumes, the second act retains the extravagance and splendor of last season's production. Nissinen expects that the contrast from the more traditional and muted first act colors to the bright and varied second act color scheme will create an illusion of traveling from the real world into Clara's fantasy kingdom.
Even with all the visual excitement of this year's "Nutcracker," Bostonians and New Englanders will not traverse snow storms and holiday shopping traffic to the Colonial Theatre this season simply to see the new production features of the prestigious company's show. "The Nutcracker" is a story about children and the power of imagination, and it is only fitting that children participate in the fantasy.
Traditionally, the Boston Ballet version of the performance heralds the greatest number of children in "The Nutcracker" worldwide, around 350. With a shorter run this year however, 270 children from the area are dancing in four different casts. Party children, angels and pochinelles chasing each other from under Mother Ginger's skirt are all roles which young dancers in Boston assume during their five weeks in Clara's dream.
Though it has an entirely new scope and technology this year, "The Nutcracker" is rooted in Boston tradition. What better way is there to celebrate the holidays than through the adventures of a young girl and her beloved prince? If this doesn't sound appealing, the Rockettes are only across the street.
