Tchaikovsky - The Nutcracker / Baryshnikov, Kirkland, Charmoli

While most of those things are true (all except for the first and last two statements), there is a lot else that should be said about this title--things that Baryshnikov's many zealous, partisan fans will not appreciate--and I'm too honest not to bring these things up. So, here is my amended review for those who desire objective commentary:

For most people, "The Nutcracker" is a charming holiday ballet with wonderful music. It is by far the most popular of ballets. The basic story is explained in the editorial reviews published by Amazon.com, so there is no need to reiterate it, except to point out what they (and all other customer reviewers to date) have failed to mention: namely, that there is a perplexing adult theme involved in this particular production by Mikhail Baryshnikov that is problematic to explain to a perceptive child.

This troubling theme starts early in the first act during the music entitled "Petit Galop des Enfants" (translation: Little Gallop of the Children). In a G-rated version of this ballet, such as George Balanchine's interpretation by the New York City Ballet, the innocent little children all dance together by the Christmas tree. In Mikhail Baryshnikov's production, however, he uses it as an opportunity to have Clara dance with her eccentric, mysterious godfather, Drosselmeyer. By the end of the first act, there is no doubt how much Drosselmeyer cares for Clara.

As the story progresses, Clara falls in love with the Nutcracker Prince and they are both taken to the Kingdom of the Sweets. There are a number of dances performed in their honor, because the Nutcracker Prince has defeated the evil Mouse King. Finally, Clara gets to dance with her newfound love in the romantic "pas de deux" (dance for two). But, something unusual is happening here: Godfather Drosselmeyer is interfering with and participating in the dance, making it a "pas de trois" (dance for three)! Drosselmeyer's facial expressions and gestures indicate very clearly that he does not approve of Clara's affection for the Nutcracker Prince. Now, just try explaining that one to your kids! Thank you, Mr. Baryshnikov, for your new interpretation of "The Nutcracker." Come to think of it, I'm sure that's what Tchaikovsky and Ivanov really had in mind when they wrote it. The work was getting stale after all these years, and we really needed a new angle to keep us interested.

In the video "Footnotes: The Classics of Ballet" (Vol. 3) by Kultur Video, there is an interview with Celia Franca about "The Nutcracker." She states: "What I think must be very difficult for some of the more recent choreographers of 'The Nutcracker' is that they get, what do you call it--kinky over it--and they try to find a new psychological angle and sometimes the result is really quite sick; and you've got this little girl who is at a party, who is suddenly a sex object of somebody or other, you know. And is she having a private affair with Doctor Drosselmeyer, this evil man, you know? Well frankly, it makes me vomit....If they want to do these deep profound psychological things, let them do a new ballet. I mean, I think it is just laziness that they'll take an already accepted ballet, they'll call it 'The Nutcracker,' they know that the people will come, it will be box office because it has the name 'Nutcracker,' and they go and do these kinky things; and then you get people who have taken their little children and they thought, well, if this is 'The Nutcracker' I'm not going anymore." (The "Footnotes" video is also for sale by Amazon.com.)

And so, I cannot recommend this particular production for parents with children. Suitable choices for the entire family include "George Balanchine's The Nutcracker" by New York City Ballet with Darci Kistler and Macauley Culkin (1993), and "The Nutcracker" by the Bolshoi Ballet with Ekaterina Maximova and Vladimir Vasiliev (1978). Nobody is doubting Baryshnikov's dancing skills (well, at least not his soloing, anyways), but it is his artistic judgment that is so perplexing. Consequently, I have taken two stars off from my rating of this title for the questionable and unnecessary adult theme.

The casting is perfect, with Mikhail Baryshnikov and Gelsey Kirkland taking the lead. Alexander Minz is perfect as Drosselmeyer, and the ABT company members portray the peripheral roles with skill and elan. Particular variations that stand out to my mind are that of Columbine and Harlequin, the Spanish dancers, and Dance of the Mirlitons. Why they left out the Arabian variation, I'll never know...but that doesn't ruin the viewing experience.

I actually prefer this plot to that involving the Sugarplum Fairy - this, which I believe follows closer to the traditional Russian storyline, focuses moreso on the dream of Clara, and her adolescent awakening. Rather than planting her on a pillow (to stay from then on) upon her arrival in the Land of the Sweets, she remains involved, dancing a yearning pas de deux with the Nutcracker Prince. It makes the ballet far more interesting, and not such a little girls' fantasy (which can get a bit mawkish after a short while). The frequent involvement of Drosselmeyer throughout the ballet reinforces this, and creates a magical effect.

The sets and costumes are glorious - not a weak moment therein. The ladies' gowns in the opening party scene are just spectacular. Also, the musical performance is beautifully handled.