A Sweet Nutcracker

There are “Nutcrackers,” and then there’s American Contemporary Ballet’s “The Nutcracker Suite.” And, oh, how sweet it is, both literally and figuratively! Originally choreographed in 2017 by ACB’s artistic director, Lincoln Jones, this ballet, billed as immersive (an overly used expression these days, and not altogether applicable here, unless immersive means lots of fake snow, complimentary Champagne, popcorn, ice cream and candy, yes!), has been pared down to its essence, both musically and otherwise.

Performance

American Contemporary Ballet: “Nutcracker Suite” by Lincoln Jones

Place

Bank of America Plaza, Los Angeles, California, November 30 – December 24, 2024

Words

Victoria Looseleaf

American Contemporary Ballet in “The Nutcracker Suite.” Photograph by Anastasia Petukhova

Seen last Thursday at the troupe’s home in downtown Los Angeles—where the viewing is up-close-and-personal—the ballet, accompanied by seven ace musicians and two singers led by ACB music director Morgan Jones, was the perfect pick-me-up amid all of today’s turmoil. Basically eliminating Act I, the work, divided into 11 scenes, began with “Waltz of the Snowflakes,” only one of Tchaikovsky’s instantly recognizable holiday tunes that added oomph to the already festive atmosphere.

Featuring a bevy of ACB’s gorgeous gals, including Madeline Houk with Hannah Barr, Claire Bednarek, Kate Huntington and Sofie Treibitz, the vignette delivered in terpsichorean spades, meaning this was ballet sublime: Here were brilliant bourrées, airy jetés and perky pirouettes, with Payton Jane’s divine, ice-blue lighting lending a merry glow to the proceedings.

Not wasting a moment in this small but mighty production, Kristin Steckmann then bounded onstage as Sugar Plum Fairy, and while there may not have been a celesta—or nary a nutcracker or Drosselmeyer in sight, for that matter—the ballerina who was more determined than dainty, nevertheless held her own with haughtiness and confidence, casting a long shadow in this enchanted setting.

The magic—and sugar factor—amped up when a pair of “dolls”—Brooke Sinton and the above-mentioned Treibitz—served up ice cream in little cups à la old-fashioned cigarette girls. A clever device while performers were changing from Ruoxuan Li’s costumes (numerous variations on the tutu, with some having snowy white pleather-like accents), the chocolate theme was accentuated with the quintet of movers in “Hot Chocolate.” Sarah Bukowski, Kate Huntington, Ellie Renner, Treibitz and Bednarek, had fun with jazz-inspired moves, followed by “Coffee (Arabian Dance).” Here, Barr beguiled with her sinewy moves, including near six o’clock extensions and luscious back bends, while a muscled, bare-chested Brian Bennett made easy work of their partnership, these light-as-feather lifts deeming them both near deities.

American Contemporary Ballet in “The Nutcracker Suite.” Photograph by Anastasia Petukhova

Victoria Manning, in green garb, personified “Tea (Chinese Dance),” flitting about like a moth and captivating with Giselle-like hops, ceding the stage, once again, to the chicks delivering sweets, in this case, candy canes, in a dance that is decidedly not for diabetics! And so, to the sounds of said confections being unwrapped, Taylor Berwick with Emma Maples and Vanessa Meikle appeared in white, with headpieces not far afield from Frida Kahlo, the trio, nevertheless deploying unison spins and smiling throughout.

Another standout excerpt, “Marzipan,” featured a quartet of lovelies—Barr, Houk, Renner and Huntington, waltzing gracefully, their arms as fetching as those of a Camille Claudel sculpture, their lines equally enticing. This scene made it more than apparent that Jones, like Balanchine before him, loves his ladies!

And what’s a “Nutcracker” without a saffron-robed Mother Ginger (okay, not often the tint of choice, but the sherbet-like hue worked perfectly here). As danced by Annette Cherkasov, with nine-year old Clio Haddon’s “Baby Ginger” in tow, this scenario provided the duo a roadmap of steps, including a few fouettés thrown in, because they could!

Returning with gusto, “Waltz of the Flowers,” this time led by soloist (“Dew Drop”) Quincey Smith, sporting a tiara and white sequined top, again provided a flourish of beauty, with Elad Navon’s clarinet tootlings coursing through the air. The dancers, with hands a-flutter from a neo-dying swan pose on the floor, then seemed to take flight, which is, after all, the point of ballet.

American Contemporary Ballet in “The Nutcracker Suite.” Photograph by Anastasia Petukhova

And no “Nutcracker” worth its bonbons can truly be a holiday gift without a cavalier: Enter, then, Maté Szentes, who has been with ACB since its early days (the troupe was founded in 2011), and has recently been guesting at companies around the world, did not disappoint. Indeed, positively regal in bearing and a compelling partner, this prince also gave Steckmann’s Sugar Plum Fairy room to shine in their “Grand Pas de Deux.”

With the swelling music, especially the dulcet tones emanating from flutist Emma McCartney, calling to mind “Nutcrackers” of holidays past, this duet made the heart soar: Here were breathtaking lifts, with Szentes gazing at his charge adoringly, his footwork assured, whether carrying Steckmann aloft like a figurehead on a yacht, or being at the ready when she flew into his arms, their fish dive picture perfect.

Yes, here was a prince to be reckoned with, his noble variations befitting the mythical mood, while Steckmann also proved worthy of his charms, her pointe work precise and oh-so-comely. A jubilant finale saw the entire ensemble in party mode, albeit taking their bows and extending the sugar high of the evening to Mt. Everest-like heights.

Having seen more “Nutcrackers” than this scribe cares to count, Jones’ inventive interpretation of the classic is ebullience personified, made even more so with the polished musical arrangements. A wonderful gift to the City of Angels, ACB continues to leave its footprints—pointe shoes and all—on the town where dance should, pardon the pun, be on equal footing, with the other performing arts. But in the interim—and in true holiday spirit—please pass the champagne!

Victoria Looseleaf

Victoria Looseleaf is an award-winning, Los Angeles-based international arts journalist who covers music and dance festivals around the world. Among the many publications she has contributed to are the Los Angeles Times, the New York Times, Dance Magazine and KCET’s Artbound. In addition, she taught dance history at USC and Santa Monica College. Looseleaf’s novella-in-verse, Isn't It Rich? is available from Amazon, and and her latest book, Russ & Iggy’s Art Alphabet with illustrations by JT Steiny, was recently published by Red Sky Presents. Looseleaf can be reached through X, Facebook, Instagram and Linked In, as well as at her online arts magazine ArtNowLA.

comments

Featured

REVIEWS | Elsa Simonetti

Beauty Reawakens

Vous les voyez, les étoiles dans la salle?” the woman next to me whispered as the lights dimmed. And indeed, the stalls glittered with former stars of the Paris Opéra Ballet— dancers I recognised, visibly moved and deep in conversation during the interval.

REVIEWS | Marina Harss

A Tale of Woe

There is probably no more beloved ballet, by audiences and dancers alike, than “Romeo and Juliet.”

INTERVIEWS | Candice Thompson

A New Memory

In 2017 Virginie Mécène reimagined the lost Martha Graham solo “Ekstatis.” A review from that Martha Graham Dance Company premiere ended with a strong vote of confidence from critic Gia Kourlas: “Ms. Mécène should keep going.”

INTERVIEWS | Karen Hildebrand

Arc of Life

On one of the first spring-like days this year in NYC, I arrive at Barnard College to observe rehearsal for John Jasperse’s new piece, “Tides,” which will open the LaMama Moves! Dance Festival on April 10.