Backstage with "The Nutcracker"
East, West, North and South - it's Nutcracker time! The major companies may have extravagant productions but it is the homegrown ballet school companies that present productions in the heartland of America. Their shows are lavish, their students are polished performers and their guest artists are some of the stars and future stars from the professional companies.
Michigan Classic Ballet Company, Bloomfield Hills, MI Photo: William Hansen
"Nutcracker" means big business. The productions play to full houses and in some cases are a major source of income for the schools. Many schools have a youth ballet company under which they present their shows. Though they share many of the same joys and difficulties in putting together their Nutcracker, each has something unique to offer.
American Pacific Ballet in Santa Ana, California, directed by Merle Sepel, has a production choreographed by Mignon Furman director of the American Academy of Ballet. Joseph Giacobbe's Delta Festival Ballet's production in New Orleans has presented the same "Nutcracker" since1981, choreographed by Richard Munroe which is based on the London Festival Ballet (now English National Ballet) version by David Lichine. There is something special about this company and mention should be made of their recovery from Hurricane Katrina where they lost all of their costumes and scenery. The Pittsburgh Youth Ballet, under the direction of Jean Gedeon, has permission from The George Balanchine Trust to use his choreography for their Snowflake scene. Mary Geiger director of the Michigan Classic Ballet Company choreographed their production but sometimes adjusts the choreography to suit the dancers' needs. On a very different note, The Cuyhonga Valley Youth Ballet in Ohio, directed by Mia Klinger-Welsh will premiere "Nutcracker Swings" using Duke Ellington music for choreography by Francis Patrelle.
Many of the schools hold auditions not only for their students but also in their communities. Betty Seibert's Cecchetti Ballet Theatre in Cheshire, Connecticut invites students from other Cecchetti schools in the New England area to audition for its production. For most of these school companies, rehearsals take place from the beginning of the school term in September until the first performance.
Costs seem to be universal and include theatre rentals, technical personnel, lighting designers, guest artist fees, publicity and promotion and in some cases as with Jerry Rose's Beckley Dance Theatre in West Virginia, trucking costs because it tours its production within its state. Though ticket sales are the major source of income, most schools do some fundraising which includes tee shirt, gift wrap and candy sales, raffles and galas. Ruth Weisen said that The Dade County Auditorium in Miami, Florida works with The Thomas Armour Youth Ballet to reduce ticket costs so 7,500 children can attend at discounted rates. The Charlotte Youth Ballet in North Carolina, under the director Gay Porter, offers sponsored-paid tickets to low-income schools and the local Girl Scout troops receive a badge for attending a performance. Local merchant advertising in programs is a source of income for most of the companies and a few received corporate sponsorship and foundation grants.
Although the number of young boys enrolled in ballet classes is gaining momentum, there are often not enough to fill the roles for the party scene. Brothers and friends are sometimes delighted to participate and as in George Balanchine’s first production for the New York City Ballet, girls may be pressed into service to take on these parts. Most productions hire professional dancers for the roles of Sugar Plum Fairy and Cavalier, giving their more senior students the opportunity of dancing the other solo roles. Catskill Ballet Theatre in Kingston, New York, under the direction of Anne Hebard also has professional dancers perform the roles of the Harlequin and Columbine dolls and the Arabian dance. Former students who have succeeded in reaching a professional career are often invited back to perform in "Nutcracker." Guest artists are very important to the regional companies. They are great role models for the young dancers. One guest artist recently admitted that some of the youth ballet/ballet school productions she has danced in are better than her professional company’s production.
Whether performed with orchestra or recorded accompaniment, "Nutcracker" brings joy to the community, thrills to parents and grandparents and excitement to the young dancers, giving them a glimpse into the world of the professional dancer. "Nutcracker" has become a yearly tradition all over the world.
Author's Note: Thanks to all the company directors who participated in this article and to the Dancer Magazine readers for your positive comments on my Backstage interviews in 2007...and with visions of Sugar Plums dancing around us, I wish you all a very happy holiday!