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Mon Dec 19 2005, Winnipeg Free Press
By Holly Harris
NUTCRACKER is the stuff of dreams. Still charming the bah-humbugs out of even the most jaded, the Royal Winnipeg Ballet's annual production opened its sparkling seven show run Saturday night to an enthusiastic audience of 1,750.
Originally commissioned in 1999, this all prairie production offers a Christmas feast of both classical and contemporary choreography by Galina Yordanova and Nina Menon, including regional touches of street hockey games, snow angels and a Folklorama infused second act cryptically referred to as The Kingdom.
The two-hour spectacle also includes lively costumes by Paul Daigle, a gorgeous set design by Brian Perchaluk and Michael J. Whitfield's rosy hued lighting, creating a rich sepia soaked Winnipeg ambiance circa 1913.
Nutcracker, in some guise or other, is often the first ballet production people see in their lives, and likely the story ballet most are familiar with. Although the RWB showed wisdom in creating this new - albeit now aging - adaptation of E.T.A. Hoffman's tale, every show has a shelf life and it is probably also a good idea for the company to give it a rest after this season.
The story centres around young Clara, a wide eyed tween who enters a fantastical dream world filled with dancing snowflakes, flowers and a corps of nefarious mice. Beth Lamont gave a convincing performance of the ingénue, before passing the role to principal dancer Vanessa Lawson who portrays the all grown up Clara during the second half of the show.
The ethereal Lawson handled the role admirably, displaying beautifully arched feet and poetic hands. Gravity defying lifts by Jaime Vargas' dashing Nutcracker Prince appeared effortless during the Grand Pas de Deux, with the graceful dancer truly seeming to spend more time aloft than onstage.
It's difficult to imagine this Nutcracker without Johnny Wright's swaggering -- and nattily vested -- Drosselmeier. Wright ripped through his solos with just enough machismo to make the wood-carver a force to be reckoned with.
The popular dancer performs with so much freedom, you'd swear he's making it all up, with an improvisatory quality that is breath taking.
Not to be outdone, Sarah Murphy-Dyson's radiant Sugar Plum Fairy, accompanied by a billowy ensemble of dancers in Waltz of the Flowers proved her mettle as a star ballerina. With a kilowatt smile that lights up the room and sure-footed technique, one longs for her quick return whenever she leaves the stage.
Tara Birtwhistle's suitably coltish Aunt Josephine was played with panache, although she at times became upstaged by Wright. With plenty of good time girl attitude in her pirouettes, however, the talented dancer showed off her acting skills and well-known versatility.
The recent bear craze in Winnipeg has nothing on Filbert. With a distinct resemblance to that other lumbering teddy with a taste for root bear, the fuzzy carnivore always seems able to elicit gasps of delight from the audience.
RWB Music Director Earl Stafford led the Winnipeg Symphony Orchestra through a briskly paced performance of Tchaikovsky's iconic score.
As Clara's dream ends - and ours - the audience leapt to their feet in appreciation, with the little wooden Nutcracker himself commandeering centre stage.
DANCE REVIEW
Nutcracker
Royal Winnipeg Ballet
Centennial Concert Hall To Dec. 29
(four stars out of five)
Attendance: 1,750
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