Audiences have a special reason to attend Eugene Ballet’s production of Pyotr Ilyich Tchaikovsky’s The Nutcracker this year: it is the final time the company will perform this seasonal classic under Toni Pimble’s artistic direction.

The Nutcracker, presented December 19-24 at Eugene’s Hult Center for the Performing Arts, is part of Eugene Ballet’s 2024-2025 Tribute Season to Pimble. This production offers a final opportunity to watch the particular flair that she has brought to this magical and beloved ballet.

“Toni’s version of The Nutcracker is the perfect diversion for those seeking a mental escape. The storyline is simple to follow for those new to ballet and it features athletic feats in Act Two for die-hard dance fans,” says Jennifer Martin, the current associate artistic director who will take the reins as artistic director next year. “The Nutcracker brings so much joy to patrons who have returned to see this classic of Toni’s for decades now. It is a beautiful tradition passed down through generations of Oregonians.”

How the magic evolved

Eugene Ballet’s original production of The Nutcracker first premiered in 1981. The ballet experienced at least four set and costume refreshes before the current set was designed by Don Carson, formerly a senior show designer for Walt Disney Imagineering, in 1998.  Since then, the production has evolved to incorporate new lighting and visual elements, while Toni has continued introducing several new costumes every year.

“Toni’s brilliant choreography and gift for storytelling, paired with Don Carson’s fun and imaginative set designs, make the viewer feel as though they are a child, immersed in a storybook with a sense of wonder,” says Suzanne Haag, Eugene Ballet’s resident choreographer.

The storyline of the previous versions of the company’s The Nutcracker included Drosselmeyer, the Nutcracker, the Mouse King, and Clara’s journey to the Land of Sweets. However, for many years the Winter Land was a skater scene reminiscent of Frederick Ashton’s wintery ballet, Les Patineurs (The Skaters).

“In 2021, for the first time in our long history of performances,” says Pimble, “I introduced the traditional snowflakes and a Snow King and Queen in the winter scene.” 

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The current version introduces a new character, Drosselmeyer’s nephew, Hans. The role of Clara, traditional to many versions, was formerly danced by a student. Clara is now danced by a company member and a little love story unfolds within the ballet between Clara and Hans. The fallen Nutcracker in the battle scene of Clara’s dream changes into Hans, who takes her on a fanciful journey through the winter scene.

Finding the easter eggs

The details of the staging are fun and very intentional, adding to the production’s charm. “Toni greatly enjoys using “Easter eggs” throughout the ballet to challenge the observer who may pay closer attention to the visuals and storyline,” explains Jennifer Martin. “For example, the ornament given as a gift near the start of the party scene is a miniature of the hot air balloon Clara and the Nutcracker Prince will ride into the Land of Sweets.” 

A miniature of the cake and box that sit on the floor of Drosselmeyer’s toy shop at the opening of the ballet becomes the full-size version the mechanical dolls pop out of in the party scene. The dolls that the party children receive as gifts from under the Christmas tree are costumed as characters in the Land of Sweets in the second act of the ballet. And remaining true to the original story, the small Nutcracker gift becomes a life size dancer.

Orchestra Next

A live orchestra plays to the nuance of the choreography.  “Perhaps what makes our Nutcracker truly unique is our collaboration with Orchestra Next,” says Pimble. “Orchestra Next was founded by director Brian McWhorter and has professional first chairs for each section, with students performing alongside mentored by the professionals. Consequently, we have aspiring young artists both on the stage and in the pit.”

Pimble makes the most of the resident orchestra. “Toni’s sensitivity to music and talent for highly musical choreography is particularly apparent in her well-crafted production of The Nutcracker, bringing Tchaikovsky’s score to life in a whimsical way,” notes Haag.

Traveling The Nutcracker

For many years Eugene Ballet toured The Nutcracker throughout the Northwest, performing in four or five states with over thirty shows in 14 cities. 

In each city local students danced on stage with the professionals. “We have long been ambassadors for the arts in Oregon,” says Pimble.

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Since the pandemic Eugene Ballet no longer has an extensive touring schedule but still tours to Anchorage, Alaska. For the Alaska performances, one of the artistic staff travels to Anchorage in the fall to host three days of auditions and initial rehearsals for the local students, some who travel long distances in hopes of being a part of The Nutcracker.

The company just completed six shows over Thanksgiving weekend with the Anchorage Symphony and students of Alaska Dance Theatre.

As Haag told Oregon ArtsWatch last year, “I think what stands out the most is that we are not just bringing the gift of Toni’s beautiful Nutcracker to another city to enjoy, but that we are giving young students the chance to be a part of a professional, high-level production that they might not otherwise be able to experience.”

Ticket information

Eugene Ballet will present six performances of The Nutcracker from December 19-24. The production, which runs 120 minutes, including a 30-minute intermission, is presented at the Silva Concert Hall at Eugene’s Hult Center for the Performing Arts. Tickets are available on the Eugene Ballet website.