Metropolitan Classical Ballet New & Reviews

In the Metropolitan Classical Ballet's version, windup dolls take over,
appearing at the end of the Stahlbaums' Christmas Eve party and coming
to life with the wave of Clara's wand in the magical second act. This
charming and imaginative touch reminds even the jaded that this is a
child's story, fanciful and joyous.

Choreographed by Alexander Vetrov, former principal dancer with the
Bolshoi Ballet and now co-artistic director of Metropolitan Classical
Ballet, this is the third year of this production. Some scenes remain
so vivid that you notice even the slightest change.

The cheery Christmas Eve party once again offered graceful dancing,
unruly boys and a few surprises. Drosselmeyer (Mr. Vetrov) soars though
the air with cape flying. His dolls, the Officer and the Princessa,
skitter toward each other, embrace and skitter to the side. The Mouse
King rudely interrupts the party, grabs the Officer by the ankle and
drags him behind a screen. Flames shoot out, but this time the timing
was off and only a puff of smoke drifted through.

Fifteen-year-old Emily Maciejewski was adorable as the Nutcracker, and
not just because of her Napoleonic hat and exaggerated red lips. She's
bold in a stiff, toylike way, so when Fritz (11-year-old Glen Vetrov)
knocks her down, her limbs come apart. Last year, she lay spread-eagle on the floor, and each time Drosselmeyer picked up an arm, it fell. This time she falls sideways in Drosselmeyer's arms, again and again. (The splat version was more dramatic.)

Miraculously restored, the Nutcracker bravely battles the much larger
and more aggressive Mouse King, dashing back and forth and thrusting
his sword with determination.

The Nutcracker nearly steals the show except for the two lovely corps
de ballet scenes, the Dance of the Snowflakes and the Waltz of the
Flowers, and the Fairy Doll (known as the Sugarplum Fairy) and the
Nutcracker Prince.

The Fairy Doll (Olga Pavlova) and the Nutcracker Prince (guest artist
Gennadi Saveliev) are a wonderful pair: she delicate, expansive and
serene, he bold and smooth. They both dance with a soft, spun-sugarlike
grace. To the tinkling sounds of the celeste, she gives every little
beat of the foot, every luxurious turn, an unhurried clarity, while he
has the daring backward turns and wonderful buoyancy.

The ending is perfect too: Clara returns to bed, and the tiny
Nutcracker salutes, drops to one knee and bows.