Oregon Ballet Theatre‘s current rendition of the holiday classic George Balanchine’s The Nutcracker®, which opened Friday, December 7 at downtown Portland’s Keller Auditorium and will close with a special performance on Christmas Eve, is one of OBT’s most successful executions of the ballet. Originally choreographed in 1892 by Russian artists Marius Petipa and Lev Ivanov with a musical score by Pyotr Ilyich Tchaikovsky, the ballet (and its variations) has become one of the most notable to cross into American pop culture consciousness.

On the afternoon I attended, the audience was met with the familiar beautiful red-painted backdrop, featuring depictions of nutcrackers and ornaments. After a short video message from Artistic Director Dani Rowe, who is serving her second season with the company, the backdrop rose and the dance began. Act I opened with the party scene, in which young dancers Metta Marquardt and Wallace Madden portrayed Marie (known as Clara in other versions) and Fritz, and Benjamin Simeons shone as the father, Dr. Stahlbaum, alongside Lauren Flower as Frau Stahlbaum. Simoens’ calm and commanding presence drove the scene as he welcomed guests to the Christmas party.

As the celebration progressed, Ben Youngstone arrived as Herr Drosselmeier, bringing gifts and magic for the children. Columbine and Harlequin, performed by Melissa Chapski and Leigh Goldberger, danced in timing slightly askew, and the Soldier, portrayed by Nikolas Sakai, impressed the crowd with strong arm precision and crisp, clean turns. While the party scene’s general energy tone did not differentiate between sections, the scene was an overall pleasant start to the evening.

One of the most magical scenes of the ballet that sears into the memories of children across the globe is the growing of the Christmas tree after the Nutcracker comes to life and vanquishes the Mouse King and his minions (whose costumes remain as cute as ever). Then the scene changes, revealing the gorgeous. tried-and-true Land of the Sweets scenery design by Peter Farmer, complemented by lighting by Michael Mazzola.

The snow dance, while still working toward achieving the ideal unison intended for this portion of Balanchine’s choreography, was high-energy and appealing. Snow fell onto the stage as the dancers remained stable and grounded. Though chaîné turns on flat appeared to prove challenging throughout, the dancers did not slip, as has been common during previous seasons, and rather embodied softness, daintiness, and quiet confidence.

After intermission, ACT II commenced with angels in pretty gold costumes and the appearance of The Sugar Plum Fairy, performed by Eva Burton. While I found myself missing a regal quality and openness of the Sugar Plum Fairy’s upper body and neck, Burton was demure and technically proficient in her portrayal, boasting clean footwork.

Then, Benjamin Simoens electrified the audience with his presentation in Hot Chocolate alongside Jessica Lind. They were followed by Charlotte Nash as Turkish Delight, whose dancing was beautiful, but unfortunately overshadowed by new costuming choices — a high-to-low mid-length bright pink can-can-meets-flamenco style dress complete with flower pom headpiece. More new costumes followed during White Rabbit (the replacement of Balanchine’s The Tea divertissement) based on White Rabbit Creamy Candy, a popular candy manufactured by China’s Shanghai Guan Sheng Yuan Food, Ltd. since 1943. Cyrus Shaskan, who was accompanied by Vera-An Nguyen and Annika Sheridan, wore a white rabbit outfit, donning furry ears and large faux white quadricep muscles.

Sponsor

Bailey Shaw returned as Candy Cane, pleasing the crowd with quick choreography, a charming demeanor, and high-arched feet. Despite a misstep of the hoop, his composure remained poised. Later, Juliet Ochoa was a triumph as Marzipan Shepherdess. She was reserved, but strong, showcasing strength and style with a dazzling smile as she stole the show. Ochoa kept up with the vibrant musical score splendidly, delivering enchanting épaulement and landing impeccable turns with ease.

Mother Ginger, another crowd favorite portrayed by Portland performer Poison Waters, arrived with matched energy to OBT Orchestra Conductor Nicholas Fox, whose lively and expert execution in the orchestra pit was visible from the audience. After, Hannah Davis impressed as Dew Drop during Waltz of the Flowers, once more displaying her strong technical abilities with gorgeous turns, échappés en pointe, and attitudes. She was sharp, sprightly, and bright — leading the scene wonderfully. The sweet and light flower chorus, featuring 14 other dancers, also performed well, executing the cleanest and most satisfying flower section OBT has showcased in years.

The Sugar Plum Fairy returned with her Cavalier, danced by John-Paul Simeons, and they performed the quintessential duet with an excellent use of space. What Burton and Simeons lacked in emotional chemistry they made up for with their strong lines, embodiment of the music, and good physical connection. Supported pirouettes exploded into stable arabesques, and though some balances and lifts appeared tentative, the two executed the duet with mindfulness and grace.

As the evening came to an end, it was a joy to see Ochoa and Davis return to the stage for their final moments, accompanied by the entire cast. The overall animation of the performance was enthusiastic, vibrant, and full of vitality. The entire production flowed with refreshing ease, reflecting Artistic Director Dani Rowe’s positive impacts on the company since arriving in the position. With an opening matinee like this, the future is looking bright for OBT’s future renderings of George Balanchine’s The Nutcracker®.

***

Tickets are available for remaining performances at 7:30 p.m. Friday, December 13 through noon Thursday, December 24 on the company website.

Sponsor