Partners in motion
LIKE Handel’s Messiah, The Nutcracker is staple fare on the Christmas menu of entertainment, so innovation is not what one expects of this ballet classic. Such novelty as it might offer is to be sought in new partnerships, particularly in lead dancers, or in small details added to the basic familiar staging.
Cape Town City Ballet’s latest production has just that: the Sugar Plum Fairy and her princely partner (aka Clara and the Nutcracker soldier) are danced by guest artist Kirstel Jensen and Thomas Thorne, and although the latter is no stranger to the role, his performance is ignited by his new partner. The duo are elegantly matched and generate convincing chemistry to make strong leads in this Nutcracker.
Elizabeth Nienaber, not for the first time, brings youthful freshness to the part of young Clara to complement the sophistication of Jensen as her adult counterpart.
A refreshing touch is the introduction of Madame Bonbon in Act 2, which affords an opportunity for a dozen child dancers to participate in the fun: sporting vivid costumes, they erupt severally from the voluminous skirts of a smiling lady (on stilts) to execute simple but eye-pleasing choreography. As this is essentially a ballet for the young, the presence of tiny, enthusiastic dancers on stage with seasoned performers is wholly appropriate.
For conservative balletomanes, this Nutcracker is irreproachable. All the elements that make it familiar and popular are there: Drosselmeyer (Johnny Bovang) is suitably enigmatic; the cosy glow of Clara’s family Christmas party contrasts with the chilly splendour of the Snow Kingdom; the children are mischievous, the Victorian-styled costumes opulent, and the array of national dances in the second act are delivered on cue and with brio.
The Russian trepak, led by Xola Putye, is especially well danced. Rosamund Ford and Jesse Milligan offer sleek execution of the languid Arabe.
The corps, both male and female, are more earnest than animated as they work through the demands of Vynonen’s choreography; as the run advances they will hopefully manage to inject more obvious enjoyment into their performance.
Recorded accompaniment has the advantage of predictable tempi, which helps.
Angela Hansford and Daniel Szybkowski join forces as the Snow Queen and her prince, and despite their near-perfect match as partners, on this occasion they lack their usual lustre and give the impression of merely going through the motions required by David Poole’s robust choreography.
Staging this ballet in the smaller confines of Artscape’s Theatre as opposed to the Opera House gives it an intimacy which compensates for the loss of spectacle and ultimately works to the advantage of the production.