RWB holiday tradition never loses its lustre

The Royal Winnipeg Ballet launched its glittering holiday ballet Nutcracker Friday night, making spirits bright with the beloved tale of dreams that really do come true.

Notably the first Nutcracker under the company’s new artistic director, Christopher Stowell, the 10-performance production caps off the troupe’s recent tour to Regina, Saskatoon, Ottawa and Vancouver.

Premièred in December 1999, the quintessentially Canadian ballet, featuring such treasured national symbols as RCMP officers and games of shinny, never seems to lose its lustre, its multi-generational story — set in a stately Winnipeg mansion on the eve of the First World War — growing more poignant with each passing year.

The 124-minute narrative ballet, choreographed by Galina Yordanova and Nina Menon and performed en pointe, tells the story of wide-eyed innocent Clara, 12, who enters a fantastical kingdom in which her carved nutcracker doll transforms into a dashing prince, while she become the fairy-tale ballerina of her dreams.

It showcases the youthful talent of the company, including corps de ballet member Kyra Soo (all lead roles alternating), who steps into the lead role of grown-up Clara and immediately commands the stage with her pristine lines and solid classical technique.

Her Act I Snow Pas de Deux, with fellow corps member Logan Savard as her Nutcracker Prince, enthralls; augmented with falling flakes, it’s undeniably one of the most breathtaking scenes in the entire RWB repertoire.

Stiff competition might be the ensemble of Snowflakes who subsequently fill the stage, with Yordanova’s choreography, stamped firmly with Russian rigour, enhanced further by the sweet vocals of the Winnipeg Boys Choir (Carolyn Boyes, director) emanating from the orchestra pit.

Savard proves a trustworthy partner to his ballerina throughout, executing jaw-dropping lifts and infusing his own character with regal bearing; Act II’s climactic Grand Pas de Deux brings a lump to the throat.

He also dazzles during his gravity-defying leaps during his variation, springing across the stage like a gazelle, with pillow-soft landings.

Principal Stephan Azulay, like most RWB dancers, has performed a bounty of Nutcracker roles during Christmases past. This year he appears as Clara’s bespectacled father; he is slated later during the run to reprise one of the work’s most delicious roles, Drosselmeier, who propels its plot forward.

Second soloist Joshua Hidson brings his own spin to Clara’s larger-than-life godfather Drosselmeier, with every dramatic sweep of his velvety cape asserting his magical powers. He also shows off his sweeter side as he bakes a Christmas confection with the always-adorable Angels, culled from the RWB School.

It’s a pleasure seeing principal dancer Alanna McAdie back onstage as Clara’s grandmother (alternating as grown-up Clara throughout the run), whose dancing with Drosselmeier during the Party Scene — even shockingly revealing her ankle — adds potent backstory. Their waltzing together as the houseguests depart creates tender counterpoint to the blossoming young love between Young Clara (a lovely Danna Diaz Maqueda) and Drosselmeier’s nephew Julien (an equally talented Fen Krotz Adams).

It wouldn’t be a Christmas party without Clara’s Aunt Josephine, back with a bang with her handsome fiancé Edouard (soloist Peter Lancksweerdt) in tow. Corps de ballet member Maggie Weatherdon infuses her flamboyant “actress from Montreal” with coquettish charm, throwing sparks with her fiery kicks and spot-on, dazzling fouettés just as easily as she tippled champagne.

Soloist Jaimi Deleau shines during her radiant reprisal of the Sugar Plum Fairy. Now a signature role for the beloved dancer, her impeccable musicality is matched by her flawless execution of intricate pointe work during each of her solos.

In addition to its human roles, Nutcracker boasts a strong animal population that has only expanded throughout its 26-year (and counting) history, showcasing the imaginative costumes by Paul Daigle. Filbert the Bear (Paige Irwin), Hazel (Jimmy Hampshire) with her off-the-charts-cute Polar Bear cubs, glittering Reindeer, Bats, an army of baby Mice (oh my), led by their leggy Mouse King (second soloist Marco lo Presti), elicited plenty of oohs and ahs from the mixed generation crowd.

After being ushered into the Kingdom by a reindeer-powered sleigh (all sumptuous sets designed by Winnipeg’s Brian Perchaluk and lit in rosy-toned hues by Michael J. Whitfield), the couple is treated to a series of multicultural dances that comprise a traditional divertissement.

Back in action again are the familiar Spanish, Arabian and Chinese dances, rounded out by the lilting, lyrical Waltz of the Flowers.

However what makes this second half particularly pop is its unique highlighting of Manitoban artists — a joyous celebration of Canada’s rich tapestry of cultural diversity, as well as the power of dance itself.

Dynamo guest performers from the Manohar Performing Arts of Canada, Ivan Flett Memorial Dancers and Rusalka Ukrainian Dance Ensemble lit up the stage with high-octane energy, garnering some of the night’s loudest whoops and whistles from the electrified crowd.

A noteworthy change is a fuller integration of their recorded tracks with the Winnipeg Symphony Orchestra, led once again with finesse by WSO assistant conductor Monica Chen, adding welcome cohesion without the aural speed bumps as players return to Tchaikovsky’s soaring, iconic score, so deeply rooted in late 19th-century European romanticism.

Whether one is seeing Nutcracker for their first time or 26th (or more), its cherished tale about the power of dreams — and not just at yuletide, but for life — continues to resonate. As expected, the audience leapt to its feet at the end for Clara and her Nutcracker, her little wooden doll now taking centrestage, seeming to egg on balletomanes’ own secret longings in their forever-young, perennially hopeful hearts.

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