Metropolitan Classical Ballet New & Reviews

Posted on Sat., Dec. 17, 2005

Refreshing rendition of 'Nutcracker' charms

DANCE REVIEW: Metropolitan Classical's libretto liberties still satisfy

By Dana Gavin Frank
Special Contributor to The Dallas Morning News

ARLINGTON - As soon as her guests arrived, little Clara Stahlbaum (danced Friday night by Payton Kerr) began a technically challenging yet childlike solo: Her arabesques were solid and her pointe work was crisp, but she maintained the air of a little girl playing at maturity. She was soon flanked by friends who used colorful ribbons to weave beautiful tableaux. Instead of endless pantomime, Act I was very rooted in classical choreography without losing its sense of humor completely.

This compelling mix of strong technique and magical staging was even buoyed by one of the best Drosselmeyers of recent memory. Charismatic and creepy even as he executed difficult jumps, Vadim Yarulin kept the sense of mystery and excitement churning.

Immensely elegant and grand, Metropolitan Classical Ballet's The Nutcracker was a refreshing take on the often overwrought holiday favorite. The dancing was precise and the choreography engaging, and yet the audience was still treated to some of the most charming little mice ever to wreak havoc in the Stahlbaum home.

Though some considerable liberties were taken with the libretto, including having the Mouse King appear in the second act, these little surprises were almost welcome because the dancing was just that good. It must be noted however that the villain's demise even so late in the game was met with a mournful sound from the audience.

Crisp deliveries and delicate snow props made the "Dance of the Snowflakes" a study in stunning simplicity. Its companion corps work, "Waltz of the Flowers," was equally as refined but an excellent counterbalance of warmth and romance. The divertissements of Act II were uniformly well-performed, with only the repetitive and uncharacteristically dry "Indian Dolls" (performed to what is often called the Arabian music) as a glitch.

An unfamiliar character, Father Frost, joined the impressive Bon-Bons onstage for a spot of whimsy: These little twirling clowns were students of Metropolitan Ballet Academy, and yet they were every bit as articulate and passionate as the professionals.

As the Fairy Doll and the Nutcracker Prince, Olga Pavlova and Andrey Prikhodko were thrillingly romantic. Another change in the libretto cast these two as newly affianced, and the sentimental gestures gave way to inspired lifts.

Dana Gavin Frank is a Dallas freelance writer.