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171 of 173 people found the following review helpful:
5.0 out of 5 stars
Outstanding Choreography, October 1, 2000
"The star of this company has always been choreography"--Peter MartinsPeter Martins, Artistic Director of the New York City Ballet (NYCB), makes an excellent point, and this is one of the most compelling reasons to give serious consideration to this particular version of "The Nutcracker." George Balanchine's choreography is commendable for its musicalness. He used to say, "The music comes first," and this ballet features an outstanding musical score by Peter Ilyich Tchaikovsky. This video is not just a dance film, but also a feature film that played in theaters. Movie star Macaulay Culkin plays the Nutcracker. He was formerly a student at the School of American Ballet (SAB). Other children from SAB also dance in this production, including Jessica Lynn Cohen as Marie. The principal dancers are Darci Kistler as the Sugar Plum Fairy, Damian Woetzel as her Cavalier, Kyra Nichols as Dewdrop, and Wendy Whelan as Coffee--these talented NYCB artists bring out the expert detail of Balanchine's choreography. This production was taped in a studio setting, not during a live performance. Consequently, there was ample opportunity for multiple outtakes until they got everything just how they wanted it. There are no bobbles, tiny mistakes or slips on the stage by the dancers. The same is true for the orchestra, and they play with finesse. The dancing is not only good technically, but also theatrically. (It is my general impression that dancers put more emphasis on their facial expressions in feature films than in live performances, and this video is no exception.) There is another thing about this title that makes it special: it is a fine all-around production. There are nice costumes and scenery. There are some expert comedic touches here, not corny stuff like the dancing chickens that are found in another famous ballet. The camera angles are well thought out, and there are also some very effective video special effects used, such as slow motion. A libretto is provided in the form of narration. Overall, this is a high quality production. There is a comprehensive analysis of this title in Robert Greskovic's book, "Ballet 101: A Complete Guide to Learning & Loving the Ballet." He writes, Balanchine's Nutcracker "records the American production that was probably more responsible than any other for giving rise to the nationwide popularity the ballet possesses in the United Sates in the twentieth century. This is the production devised by Balanchine in 1954, recalling the staging he was brought up with when he was a young student and dancer in St. Petersburg (1915-1924)." (p. 254) Greskovic's excellent book is also for sale at Amazon.com. There are many different commercial versions of this ballet available, and this is one of the best to choose from. Some have a Sugar Plum Fairy, and some don't. In those that don't, Sugar Plum's parts are acquired by Marie, who is usually much older in age. Although Darci Kistler and Damian Woetzel's performance in the grand pas de deux is enjoyable, I personally prefer the versions where Marie and the Nutcracker Prince dance the part together instead, because it seems more natural to me that the two main characters dance the musical climax. Unfortunately, the productions that omit Sugar Plum often do not include children in them, and I find that the early numbers in act one work better with real children, rather than adults posing as children. So, it's usually a tradeoff. I particularly enjoy the NYCB corps routines to "Waltz of the Snowflakes" and "Waltz of the Flowers"--featuring Balanchine's outstanding choreography. Many young dancers from SAB appear in this film, and that makes it attractive to young children. This is an excellent production for the entire family to enjoy together....
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