Music by Pyotr Illyich Tchaikovsky
Choreographed by Joel Burke, adapted after Marius Petipa
Set Design by Chris Osborne, Jess Lawry – Lighting Design by
Daniel Sharp
Canberra Theatre Centre 13th & 14th
December 2024.
Opening Night performance on 13th December
reviewed by BILL STEPHENS.
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| William Cheung as The Jester in "The Nutcracker" |
While some might
quibble at describing BIG LIVE’s current production of “The Nutcracker” as ‘world
class’, there is little argument, judging from the size of the audiences drawn
to its three Canberra performances, that
BIG LIVE is well on the way to achieving its objective of ‘bringing world-class
ballet to wider audiences’.
There is much to admire in this production of “The
Nutcracker”, most particularly the opportunity it offers in providing professional
experience to talented emerging young dancers.
Artistic Director, Joel Burke, himself an accomplished dancer,
has adapted the original Petipa choreography to the talents of his dancers, to
produce a very traditional, but very pretty production, in which the
storytelling is clear, the settings and costumes are attractive, and danced
with a freshness and joi de vivre that is quite irresistible.
This is particularly obvious in the opening party scene, which
can often be a bit dull, but in this production, stolen by fourteen-year-old
Charlie Duwner, as Clara’s annoying young brother Fritz.
Though slight in
build, Duwner is already exhibiting a formidable technique notable for his purity
of line and extensions. Duwner is also deft at creating eye-catching characterisations,
demonstrated in contrasting roles as the irritating Fritz, then later
subjugating that personality to fit the mood as one of the three jaunty
Merlitons.
Similarly eye-catching was Mia Zanardo, firstly as Fritz’s
partner in crime at the party, then unrecognisable as a Doll being manhandled
around the stage, then again with Duwner as a Merliton.
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| Nuttcracker (Joel Burke ) fighting Rat King (Brock Tighe) in "The Nutcracker". |
In this production Clara is rather more mature than usual but charmingly danced by Emilia Bignani and dashingly supported by Joel Burke as the Nutcracker-come-to-life who rescues Clara from the dastardly Rat King (Brock Tighe) before escorting her on her journey through the Kingdom of Sweets which commences with a magical snow- storm to end the first act.
The second act is of course devoted to a series of famous
set-pieces in which the company showcases its principal artists. Though all
were well-danced and prettily costumed the highlight was the extraordinary
Arabian duet performed by guest artist, American dancer Juliet Doherty teamed with
company dancer, Alexander Taber.
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| Julie Doherty, Alexander Taber in "Arabian" |
The choreography requires extreme flexibility from the female dancer and extraordinary strength from the male dancer to the accomplish the succession of complex lifts. It was performed with considerable confidence and panache by both artists.
Laura McLean, Zali Burr, Brock Tighe and William Cheung, (who
had earlier delighted with his exuberant Jester), offered an exuberant Spanish
dance, while Jonathan Carmichael earned cheers for his dashing Russian solo and
of course the prettily costumed Waltz of the Flowers was as dreamy as anyone
could wish.
Surprisingly, although given a stunning entrance, held high
by four male dancers, the bravura Sugar Plum Fairy pas de deux, for which
company dancer Abbey Hansen was partnered with Marinsky Ballet principal guest
artist Ervin Zagidullin, never quite achieved the excitement level expected as
the climax of the act, possibly due to the subdued sound level of the recorded
soundtrack on opening night.
However Burke’s spectacularly staged finale in which all the
artists returned to reprise a little of each’s specialty dance ensured that
everyone, but most particularly all the tiny budding ballerinas and princes in
the audience, were sent home with imaginations crammed with images of a world in
which everyone lives life to Tchaikovsky’s incomparable melodies.
This production has already toured widely but will be performed
on the Gold Coast on December 16th prior to performances in
Melbourne, December 18th -20th.
Photos supplied by BIG LIVE
This review also published in AUSTRALIAN ARTS REVIEW. www.artsreview.com.au
