A Perfectly Cast ‘Nutcracker’

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The New York Sun

New York City Ballet opened its 50th anniversary run of “George Balanchine’s The Nutcracker” on a dazzling high note. Friday evening was not just another night at “The Nutcracker,” thanks in large part to the principals. Maria Kowroski and Charles Askegard, as the Sugarplum Fairy and her Cavalier, topped off the performance with a bold, well-timed pas de deux. Sofiane Sylve dazzled the house with her magnetic dancing in the solo role of Dew Drop. With these two performances at the end of the ballet, it was easy to walk away with visions dancing in one’s head.


The evening’s Drosselmeier, guest artist Robert LaFosse, contributed greatly to the success. Mr. LaFosse created a crafty, quick character who was entirely charming. With so much personality, his little nephew, danced by Jerimy Rivera, seemed extra poised and elegant by comparison. Mr. Rivera made for a gracious partner to a sweet Marie, Angelica Fellini. As for her parents, there is something appealing in the way Jason Fowler and Dena Abergel play these roles. They both take them on with natural, easy acting, and they look good in the parts.


Act I ends in a blizzard and the Waltz of the Snowflakes as Marie and the Nutcracker Prince travel off to the Land of the Sweets. The choreography in this dance for the corps de ballet shows off Balanchine’s exceptional understanding of music and patterns. It’s truly a high point in the ballet and the score. But this group of human precipitation seemed not in agreement on how far up and out to stretch their necks. It was all very elegant, but exaggeration here and there threw off the line of the group.


There is no exaggerating the point, though, when it comes to Ms. Kowroski. She is unusually well suited to the role of Sugarplum Fairy: She’s queenly, yet maternal when directing the little angels around the stage. In everything she does she is glamorous, and this role is no exception.


On Friday, she seemed to be dancing with more musicality in her solo, but she also created a few nervous, wobbly ankle moments in her arabesques. In her pas de deux with Mr. Askegard, there was a thrilling panache. She dances prettily, but this performance had more meat to it. Her dives into her partner’s arms had a touch of abandon, and she released from a balanced arabesque with a force that captured the pulse of the music.


And there was plenty more good stuff in Act II. As the lead Candy Cane, Tom Gold bounded through his hoop with precision, but also joy. So crisp and sharp in everything he does, he’s a role model for the younger dancers behind him. The Spanish dance, or Hot Chocolate, was well presented and appropriately spicy. Teresa Reichlen as Coffee was sexy enough, but could loosen up a bit. Jennifer Tinsley led the Marzipan Shepherdesses with spirit, but there was a rushed quality to the dance – sweet, but not quite light enough.


There was a more calming feel from the Flowers, led by Ellen Bar and Gwyneth Muller. Ms. Sylve as Dew Drop, the head flower, soared through the work. She’s not a delicate creature by any means. Her zesty, aggressive style kept the excitement level up, which contributed to a very memorable treatment of a very familiar ballet. If City Ballet can maintain this level of performance throughout the long “Nutcracker” season, it will honor the previous 50 years well – and set a high standard for the future.


“The Nutcracker” will be performed at the New York State Theater December 1, 2, 7-9, 14-16, 20-23, and 27-30 at 6 p.m.; December 3, 4, 10, 11, 17 & 18 at 8 p.m.; December 4,18, 20, 22, 23, 27 & 29 at 2 p.m.; December 5, 12,19, 26, and January 2 at 1 p.m.; December 5, 12, 19, 26, and January 2 at 5 p.m. (Lincoln Center, 212-870-5570).


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