Lincoln Center's "Nutcracker" Kids!
"Nutcracker." The word has become as synonymous with Christmas as decorated trees, carols, shopping, and Santa's bag of gifts. For some children at the School of American Ballet (SAB), the School associated with the New York City Ballet, the "Nutcracker" is the ultimate Christmas gift promising a celebratory season unlike any other. However, Santa doesn't carry this distinctive present in his bag. Becoming a part of this great George Balanchine version is a "gift" given out by audition only. Students at the school wait for the notice to go up on the bulletin board and grapple with butterflies in their stomachs until the audition day finally arrives, usually a Saturday afternoon in early October.
SAB teacher Garielle Whittle, a former member of New York City Ballet, chooses her double casts of children (about 50 in all) from the children in second division (usually ages 8—9) through fifth division (around 11 or 12). Those selected will have an opportunity to perform on the New York State Theatre stage with live orchestra, to take their place in the wings next to the company dancers with everyone dressed in elaborate period costumes and to dance the Balanchine choreography.
Whittle teaches children's classes at the school and is quite aware of the charged atmosphere that takes over as soon as the audition notice is posted. "I realize what a big event this is for our students," Whittle says, "and it is an equally big responsibility for me." She has done this many times before, and though she says she is always calm and collected on audition day, she grimaces a little knowing the long day will not be entirely pleasant. But she has a job to do. Her soft smile and bright eyes give away how much she really cares about these eager children whom she will either embrace as partners in putting on a show or gently let down and hope their parents will ease the disappointment at home.
So many factors enter into the selection process but most important is size. The children, except for those in the part of hoops, must be small, smart, perky and dependable. "Above all, they must look well together," Whittle says. "We have boys for the boy's parts now. No more girls tucking their hair under the velvet caps to instantly become boys. For the Polichinelles, the children must be good dancers. I give the pas de chat combination at the audition. It's difficult and the children need to jump well. The dancers in the hoop variation are usually taken from the older divisions because they are taller, must dance, jump, and handle a hoop prop."
Once a cast is chosen there are about six weeks of rehearsal until opening night late in late November. The children are obliged to attend all rehearsals, plus handle schoolwork, the sniffles, maybe even a family crisis. Rarely do these interruptions hold them back when a rehearsal is called. Being a part of the "Nutcracker" cast is a do or die commitment and the "Nutcracker" kids are aware that how they perform, their dependability and their stamina will reflect on future casting possibilities in other productions requiring children. They challenge themselves to do everything right.
"I have so much work to do after I see the children, preparing all the details for the final casts for A and B companies," Whittle remarks. "When I finally leave the studio everyone outside is gone. Whatever went on with the disappointment some of the children must face, I don't see it." Occasionally there is a mother who will confront her with the usual question, "why not my child?" Whittle's answer is always simple and straightforward. Not the right size, or there were one too many to fill that spot.
Whittle knows that crying is inevitable. Some children become aware that they are not going to be picked as they are lined up and counted when Whittle makes her final decision. There are two assistants in the studio with Whittle to aid with the letdown as she makes the final selections and hands out the papers that signify who is in. These are like contracts outlining obligations and rehearsal schedules to be signed by the anxious parents waiting nervously in the halls. It is a heart-breaking experience for many of the little ones and for their parents. Even a Christmas trip to Disneyland cannot ease the disappointment. For some it may be a realization that life can be unfair and that parents can't fix everything -- a tough lesson to be learned under any circumstances. But in the fairy-tale world of ballet, it seems a bit more formidable.
Comes the opening night and the children approach the 62nd street entrance to the theater, run down a few stairs to the heavy double doors and pass through the entrance marked "Stage." Perhaps there are flowers, candy and stuffed animals waiting there with cards of congratulations. For these aspiring dancers it doesn't get any better than this wondrous moment.
"The children are crestfallen when their performing season has finished," Whittle remarked. "There is sort of a 'now my life is over' attitude that permeates among them. I watch them gather their belongings together for the last time, say good-bye, and exit the green room where they have lived for six weeks during the run." City Ballet offers many productions like "Coppelia" and "A Midsummer's Night Dream," that have a children's cast, but the one that brings the spirit of Christmas to New York is the "Nutcracker" and being a part of that experience as a child becomes a life-long memory.