Tarantella had further children dancing clear, simple choreography in ways that were crafted to remain interesting and pleasing – such as in circling and up/down movement (utilizing many dimensions in space as well as levels). Difede as the Arabian Coffee soloist was silky smooth and billowy in her movement, yet solidly unshakeable, just like the silks with which she turned and extended. The two were both light and strong in very challenging leaps and turns. The children stomped and leapt as Dwayne Cook and Gragg offered more technically advanced movement in center. Russian Candy Canes were another variation that included Newport Academy of Ballet students in a way that added warmth and further magic. It was very encouraging to not see the “chopstick” fingers, a traditional Nutcracker inclusion that some critique as culturally insensitive. The Chinese Tea soloist (Timur Khan ) was filled with joy and bright ballon. Spanish Chocolate (Katie Moorehead and Lewis) came in with a burst of energy, smooth in the blend of their character flourishes and more technique-based movement. Then to the Land of the Sweets variations.
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Her Cavalier (Darwin Black) offered strong, yet soft and easy lifts – in the ballet cliché, making something hard look like nothing of the sort. It was all part of the whole show’s magic. Sugar Plum (Brooke DiFrancesco) entered, offering extensions that traveled for days – yet also something subdued, as if she was holding back to roll it out later, to build an intriguing mystery about her. The Angels welcomed all into the second act, in beautiful white Empire dresses. In some magical train of thought, they learned it from Winter Fairy, who led them all in offering these qualities.
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The bigger Snowflakes (seemingly teenaged dance students) moved with power and punch, yet also softness and grace – at an impressive level for their apparent age. Again, only the Grinch wouldn’t be touched. She ran through, and they spun as she passed. They were part of sweet moments, such as making a tunnel for Tess. The little Snowflakes, in addition to the larger ones, were another nice variation that this year’s IMC Nutcracker added. The children threw blocks of cheese at the mice, a warmly funny addition to these characters’ incorporation. Vanderbilt (the historical owners of Rosecliff). The Party Scene boys had swords rather than instruments, for instance, and one of parent couples was Mr. Yet he was also spurring the mysterious events to unfold as the mice arrived, he seemed to call the Rat King.Īnother part of the magic were little ways the show was its own Nutcracker, apart from the many, many other Nutcrackers running this season (and every season). He once spun and was caught by a parent, offering a bit of charming humor. Drosselmeyer foreshadowed the mice coming, gesturing paws and whiskers. Drosselmeyer and Winter Fairy moved around and through the crowd, evidently orchestrating the magic like a seasoned conductor does an orchestra. These characters moved us to another room to enjoy the next festivities – as happens in classic dinner parties of the well-to-do. Ballerina Doll (Tara Gragg) and Soldier Doll (Glen Lewis) were strong and precise, yet didn’t lose the sense of playful magic at the root of their characters. Hermann (Fritz in another name, James Enright) was rough-and-tough in a way that was perfect for his character. One’s feet wanted to waltz right along with the parents, in their stunning quartet, and spin along with Tess (Clara given another name in this production, Madeline Kment) in her commanding presence.
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One would have to be Ebenezer Scrooge to not be pulled right in. It all felt authentic and immersive, like the story played out on a proscenium stage cannot. This performance utilized parent/child relationships more than many Nutcracker presentations do, to great effect. There were sweet moments between the dignified adults and their children – such as high lifts, bringing them eye to eye, while children picked up their heels. The children demonstrated both the professionalism of adulthood and the present joy of youth. The multiple Christmas trees sparkled, and music boomed through the room. Then these characters guided the audience into Newport’s Grand Ballroom. Costumes by Eileen Stoops were beautifully ornate, yet naturalistic. Photo by Thomas Palmer.Ĭhildren filed in on the stairs, looking up to see their parents enter.