A critic's 5 takeaways from Charlotte Ballet's 'Nutcracker'
Charlotte Ballet's "Nutcracker" runs through Dec. 23 at the Belk Theater
This review by longtime Charlotte arts critic Lawrence Toppman was published by The Charlotte Ledger on December 9, 2023. You can find out more about The Charlotte Ledger’s commitment to smart local news and information and sign up for our newsletter for free here.
You don’t need to be a child to enjoy Charlotte Ballet’s fantastical ‘Nutcracker;’ charm, spirit and detail keep the perennial classic fresh
Charlotte Ballet’s “Nutcracker” opened Friday and runs through Dec. 23. (Photo courtesy of Charlotte Ballet)
by Lawrence Toppman
Anyone can guess what a 7-year-old enjoys about Charlotte Ballet’s annual staging of “The Nutcracker”: The sparkling elegance of the tutus, the accessible beauties of Tchaikovsky’s perennially fresh score, the chance to grab dance merchandise at overflowing lobby kiosks.
But what does a man approaching 70 get out of the performance? Here are five un-childlike takeaways from a guy who has no grandkids to imbue him with a sense of innocent wonder.
◼️ Attention to detail: I hadn’t seen the “Million-Dollar Nutcracker,” so-called in 2016 when a $1 million gift bought sumptuous new sets and costumes, since the year it premiered. I wished at the time that the McColl family, who made the gift to the ballet in honor of Jane Spratt McColl, the wife of former Bank of America Chairman Hugh McColl, had used that money to pay for 20 new pieces by choreographers from around the world, and I still do. But they got what they paid for.
The towering candy canes in the Land of Sweets make me smile. Backdrops such as the roaring dragon that descends for the Chinese number come and go impressively, one after the other. The snow at the end of Act 1 falls in an even, delicate pattern through the entire waltz, an effect hard to pull off. Costumes on the corps in the Waltz of the Flowers aren’t just green and pink; the skirts come in three subtly different shades of pink, and the green bodices have an iridescent center, like the inner colors on a flower’s petals.
◼️ Naivete: This remains the main Charlotte choreographic legacy of Jean-Pierre Bonnefoux, who was then artistic director of the company. (He sat in the center orchestra of Belk Theater Friday night, watching his work with wife Patricia McBride next to him.)
Like all his ballets for children, it’s gentle and unthreatening, a fairy tale without a hint of darkness. There’s no danger from the Rat King, no anxiety about puberty or romantic longings for Clara, no spookiness in grandfather Drosselmeyer. We’re not surprised when Clara remains in the Land of Sweets at the end, rather than returning to her parents’ home or waking up from a dream in her bed, because everything about the evening is a fantasy.
◼️ Rock ‘n’ roll behavior: “The Nutcracker” has its own crowd decorum, one you wouldn’t encounter at other dance events. Audience members hollered “Whoo-hoo!” when favorite dancers appeared, let alone started to move. Shrill whistles and waves of applause greeted even slight achievements.
I’m talking not about kids whose proud aunties cheered spontaneously, but professional dancers whose fan clubs turned out in force. Although somebody should’ve yanked down the woman in front of me who jumped to her feet, applauded and shouted “Bravo!” while a dancer was in the middle of her solo.
◼️ Emptying the school: Like George Balanchine at New York City Ballet, for whom he danced in the 1970s, Bonnefoux believed every student could find a spot in “The Nutcracker,” from the older party guests in Act 1 to the little angels with candles at the start of Act 2.
Sometimes that philosophy means beginners take on choreography too difficult for them. Often, it yields happier results, such as the charming Clara of Elyn Jenkins and the high-bouncing Fritz of Riley Smith as the siblings who fought over the Nutcracker Friday night.
◼️ Unexpected humor: I had never noticed the couple who briefly stride into a tango on the way to Clara’s party, or the flirtatious background antics at the event. Nor did I remember Drosselmeyer breaking into hip-hop moves or doing goofy things with a flustered maid.
Drosselmeyer, often portrayed as a slightly sinister figure, comes off in James Kopecky’s performance as Jim Carrey might have played him 30 years ago. Kopecky, who staged the production in Bonnefoux’s absence, usually takes dramatic roles, so it was pleasant to see him as a pompous, slightly silly fellow fond of parlor tricks. We were a thousand miles away from the source material, a weird story by E.T.A. Hoffmann, but I laughed as hard as any 7-year-old.
➡️ If You’re Going: “The Nutcracker” runs through Dec. 23 at Belk Theater, with both weekday and weekend matinees and evening shows. Tickets range from $30 to $156.
Lawrence Toppman covered the arts for 40 years at The Charlotte Observer before retiring in 2020. Now, he’s back in the critic’s chair for the Charlotte Ledger — look for his reviews about two times each month in the Ledger.
Need to sign up for this e-newsletter? We offer a free version, as well as paid memberships for full access to all 4 of our local newsletters:
➡️ Opt in or out of different newsletters on your “My Account” page.
➡️ Learn more about The Charlotte Ledger
The Charlotte Ledger is a locally owned media company that delivers smart and essential news through e-newsletters and on a website. We strive for fairness and accuracy and will correct all known errors. The content reflects the independent editorial judgment of The Charlotte Ledger. Any advertising, paid marketing, or sponsored content will be clearly labeled.
Like what we are doing? Feel free to forward this along and to tell a friend.
Social media: On Facebook, Instagram, Twitter and LinkedIn.
Sponsorship information/customer service: email support@cltledger.com.
Executive editor: Tony Mecia; Managing editor: Cristina Bolling; Staff writer: Lindsey Banks; Business manager: Brie Chrisman, BC Creative