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Anna Gassett

Melissa Rodriguez

Intro to Fine Arts

30 November 2020

The Nutcracker Critique

I recently viewed a recording of the famous Christmas ballet, The Nutcracker, on

YouTube. It was the New York City Ballet’s 1993 performance starring famous ballet dancers

such as Darci Kistler, Damian Woetzel, and Kyra Nichols. The Nutcracker is a world-renowned

two-act ballet originally choreographed by Marius Pepita and Lev Ivanov. The score, written by

Pyotr Ilyich Tchaikovsky, is one of the most vivid, colorful compositions to date. The ballet is

typically performed around Christmas time due to its content, and it is an annual tradition for

many families to attend a performance.

The Nutcracker is an honor for a ballet dancer to perform in because it takes such skill

and technique to master the different cultural styles of ballet throughout the show. The ballet

begins at the Christmas Party in an upscale home, so the dancers who play partygoers have a

prim and proper way of executing the choreography. Drosselmeyer is a demanding and

mysterious character. His movement expresses the type of person Drosselmeyer is. There is a

reoccurring theme throughout the ballet of dolls and toys coming to life, since it is Christmas.

The dolls dance with proper ballet technique and freedom from the waist down; however, the top

half of their bodies are stiff and locked into place. The soldiers throughout the ballet dance

extremely rigged and strong. The mice dance with little to no proper ballet technique. Most of

their choreography consists of scurrying and jumping. The dancers in the snowy forest execute
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their choreography as if they were snowflakes blowing in the wind. Bourees, grand jetes, and

saut de basques are repeated many times in their sequence. The angels are played by young

children; therefore, the movement is very simple. The sugar plum fairy must be played by the

most technically sound dancer because the choreography is incredibly difficult. It must appear

simple and delicate. Darci Kistler danced the popular “Dance of the Sugar Plum Fairy.” Her

pirouettes and developpes are captivating as well as her artistry and performance quality. The

choreography of the Spanish dancers reflects the culture. The port de bras features architectural

hand gestures uncommon of the typical ballet style. The Arabian dance sequence has a modern

dance quality to it. The dancer does sensual movements that emphasize the hips and midsection.

The movement is slow and drawn-out. On the other hand, bubbly and energetic is the perfect

way to describe the choreography in the Chinese dance sequence. The male dancer executes

many jumps in second position which takes immense strength. Similar to the Chinese dancers,

the candy canes dance with abundance and energy. The choreography is very quick. Marzipan

and her shepherds have Russian ballet choreography that includes lots of jumps, pirouettes, and

leg extensions. Mother Ginger and her children are lively and youthful when it comes to their

ballet style. “The Waltz of the Flowers” flows like the wind on a rose petal. The choreography is

elegant, but difficult to execute. The sugar plum fairy and the cavalier dance one the most iconic

dances in the entire ballet. It is extremely difficult and takes years of training and immense

strength to execute. The Nutcracker is a Russian Ballet; however, it draws from many different

cultures and styles.

The costume designer for the New York City Ballet production, Marc Happel, did a

wonderful job at expressing every character while still maintaining an overall organized look.
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Clara wears a pretty dress that parallels her youth and wonder. All of the partygoers are dressed

to the nines in frivolous gowns and fancy suits. Drosselmeyer wears all black with a long cape

which the dancer utilizes. He also has an eye patch, which adds to his already mysterious

appearance. The dolls at the party are dressed as life-size versions of popular toys. To emphasize

their intimidating appearance from Clara’s point of view, the mice are human size with large

mid-sections and heads. The nutcracker after he comes to life appears identical as the toy

version. Representing the snow falling from the sky on a cold, winter day, the snowflake dancers

are dressed in decadent white dresses with long tutus. The angels are dressed in cone-shaped

dresses with gold wings and headpieces making them look ethereal. One the most distinguishing

costumes in the ballet is the one belonging to the sugar plum fairy. She is dressed in a light pink

silk leotard with an attached tutu. Her tutu moves perfectly with her choreography as her legs

extend. Her bun is topped off with a shiny crown. The Spanish dancers are dressed in attire that

perfectly align with the culture. It is apparent that the dancers are celebrating the Latin culture.

The Arabian dancer’s costume consists of a high-low skirt with coins and fringe hanging from

the ends. Her gold crop top matches her veil that moves effortlessly with her long extensions and

lines. Next, the Chinese dancers grace the stage in kimonos and conical hats which are very

popular in the Chinese culture. The candy cane dancers wore white shirts and pants with pink

and teal diagonal stripes. This is unusual since the typical candy cane is red and white striped;

however, the pink and teal present a playful vibe. Mother Ginger and her children have some of

the most outlandish, decorated costumes in the ballet. The children look like little dolls as they

come out of Mother Ginger’s skirt. “Waltz of the Flowers” appears flowing and beautiful not

only because of the choreography, but also because of the three-tiered tutus that the dancers

wear. Pinks and purples fill the stage as the dancers spin and jump. To finish off the production,
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the cavalier and sugar plum fairy dance a pas de deux in all white. They look like snow floating

across the stage. Similar to the many styles of dance expressed throughout the show, the costume

variations align with the cultures presented.

The Nutcracker is one of Tchaikovsky’s most notable works. The ballet begins with a

unique overture with six string parts, which gives it a light and playful sound. It is as if a music

box is playing. The Act I March, which is the music played during the party scene has a large

variation of tempo throughout. It sounds like a march that toy soldiers might do. “The Waltz of

the Snowflakes” begins with a flutter of notes and continues with descending notes which

symbolizes the falling snow. “The Waltz of the Sugar Plum Fairy” is one of the most popular

compositions in the ballet. It is compiled of pizzicato strings that express the daintiness of the

dancer en pointe. The various dances in the second act are very distinctive of each culture. The

Spanish dance uses lively trumpets and castanets. Woodwinds drive the sensual feel of the

Arabian dance. The Chinese dance sounds lively and playful with colorful piccolos and flutes.

The other dance with very distinctive music is “The Waltz of the Flowers.” Loving, warm sound

is all thanks to the horns in this piece. The pas de deux with the sugar plum fairy and cavalier has

a grand, beautiful sound full of complex string arrangements. Tchaikovsky’s music makes this

classic ballet come alive with its romantic arrangements.

New York City Ballet’s Production of The Nutcracker is a perfect example of a ballet

with character and life. Not only does it contain impeccable dancing, music, and direction, but it

also tells a vivid story. The storytelling can often get lost in ballets when the dancing is put at the

forefront. At the end of the day though, a story is to be told and people want to bring their
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children to The Nutcracker because it is exciting and magical, not just because the dancing is

superb. I thoroughly enjoyed this production and it intensified my respect for ballet.