Holiday tradition is grander than the sum of its parts

Dec 4, 2004

Author: Edie Evans

Position: Correspondent

Source: Spokesman Review

Spokane added another jewel to its crown of holiday traditions Friday night, with the season's first performance of "The Nutcracker" at the Spokane Opera House.

Its elaborate lighting, costumes and scenery created a glittering fantasyland. The choreography by Mikko Nissinen offered dramatic, comic, and sparklingly virtuosic roles for children and adults. The Spokane Symphony performed Tchaikovsky's sumptuous score under the baton of Peter Dala, Alberta Ballet's guest conductor, with aplomb.


Three distinct dance groups joined to perform the ballet. Most adult artists were members of the Alberta Ballet. They were joined by six dancers from the Ballet of British Columbia while about fifty children on stage hailed from local and regional dance studios. With only limited rehearsals together, these individual entities blended their performances seamlessly.

The choreography in the first act is endearing for its dramatic warmth. In the opening party scene, the guests were convivial and welcoming. The local children under the professional tutelage of Peggy Goodner Tan were delightful. Spokane's own 14-year-old Leyna Swoboda, now in her third year as Clara, performed with clarity, assurance, and a strong stage presence. Casey Nieuwenhuis, 13, portrayed Fritz, Clara's irrepressibly mischievous brother.

Blair Puente performed the role of Herr Rosselmeier with flair. The audience howled as he literally fell onto the stage. The children in the audience were dazzled with his wizardry. When he waved his arms, dolls danced, the Christmas tree grew, and the Nutcracker came to life.

The fight to the death between the Nutcracker Prince (danced by Jonathan Renna) and the Mouse King (performed by Chris Hannon) was captivating in its stylization. The height and precision of Renna's turning aerial leaps was especially impressive.

The pas de deux of the Snow Queen and her consort was lyrical and precise while the corps de ballet performed the Dance of the Snowflakes with fluidity and vibrancy. In the next act, the corps' Waltz of the Flowers with Alexis Maragozis flitting through their dance as the butterfly was equally delightful.

The choreography in the second act is vibrant with its technically demanding roles for small ensembles.

The audience's two favorite ensemble dances in the second act were the Arabian Dance and the Russian Dance. Sabrina C. Matthews and Kelley McKinlay created a strong tension with sinuously restrained movements full of grace. The audience gasped when their pas de deux ended with McKinlay holding Matthews overhead with one arm.

Nathan Griswold and Puente enfused the Russian Dance with vigor and style. Their leaps and jumps were precise as the pair filled the stage with unadulterated energy.

The final grande pas de deux performed by Renna and Amanda Walsh as the Sugar Plum Fairy was marked by solid partnering, accuracy, and lyrical multiple turns and lifts. Renna's solo was brief, energetic, and bold. His tour de force, a series of turns and leaps around the stage, was commanding.