Playhouse, QPAC
Reviewed December 2
It is 10 years since Ben Stevenson’s charming version of The Nutcracker first became an annual event for Queensland Ballet (QB) and Brisbane audiences. At the time the naysayers said an annual Nutcracker would not be as popular here as it is in the northern hemisphere. After all, our experience of Christmas isn’t at all reflected in the ballet’s setting. But here we are, 10 Nutcrackers later, sitting in another packed house, as the oh so familiar overture begins.
Looking back over past productions, the consistency is notable, although performance highlights in various roles are inevitable, as are comparisons. The familiarity of the ballet is therefore both its charm but also its curse. Keeping it fresh, year-on-year, is no mean feat.
Stevenson’s take on the classic ballet is traditional but tailored cleverly to suit a small to medium company without losing any of the story’s magic. The opening party scene is a rustic farmhouse setting of browns, reds and greens, rather than a grand manor. But the richly detailed characters inhabiting the space are clearly described and most engaging, with so much happening on stage that the focus is happily pulled in all directions.
And so it was, for this performance. Chiara Gonzalez was again, sweetness and light as Clara, well matched by Luke Dimattina, who has a lovely ballon, as her mischievous brother, Fritz. The comedy was as diverting as ever, from the eccentric elders in the room – Laura Tosar as the tippling Grandmother, Vanessa Morelli the deaf, dithering Aunty, and Rian Thompson holding the floor again as the doddery Grandfather.
The magic begins with the enigmatic Dr Drosselmeyer (Alexander Idaszak) and continues through a very tightly executed fight scene, where Clara knocks off the King Rat (wittily played by Vito Bernasconi) by a blow to the head with a pointe shoe. The scene is pure pantomime and still draws laughs.
Mia Heathcote and Patricio Revé were well matched as the Snow Queen and Prince in a pas de deux that, musically, is an exquisite confection, and matched choreographically by broad sweeping movements, big lifts and expansive use of the upper body, all performed with calm finesse. Add a very together Snowflake corps and the requisite falling "snow" and you have a magical end to the first act.
The Land of the Sweets has all the usual characters, beginning with a tightly executed Spanish pas de six by Serena Green, Dylan Lackey, Georgia Swan, Rian Thompson, Vanessa Morelli and Samuel Packer.
The Arabian Dancers (Neneka Yoshida held aloft by Idaszak) mesmerised – Yoshida contorting her lithe physique into astonishing positions with a sinuous elegance that drew gasps from the audience.
Lina Kim, Tosar and Liam Geck performed a crisp Mirliton pas de trois, while Mali Comlekci and Dimattina were convincing as the sword wielding, Karate chopping Chinese Dancers. Mother Ginger (Matthew Maxwell) and her Ginger Children also provided humour. Bernasconi again drew admiring applause for his tightly executed, show-stopping Russian Gopak.
The Waltz of the Flowers, a swirling arrangement of pinks, apricots and green was presented with immaculate lines and technical finesse by the corps, led by Lucy Green and David Power in a joyous partnering. The dynamism of all the dancers made this Waltz a highlight
The musical and thematic climax of the ballet comes at the end of the glorious grand pas de deux, where Yanela Piñera, serenely regal as the Sugar Plum Fairy, and with impeccable musicality, was solicitously partnered by the charismatic Revé. Revé has a technical facility to match his stage presence, nonchalantly tossing off double cabrioles derrière that soared heavenwards.
Queensland Ballet again delivered the magic this year with a performance that sparkled. Set and costumes (designed respectively by Thomas Boyd, and Desmond Heeley with Noelene Hill), enlivened by the lighting of David Walters, created an enchanting visual spectacle. The Queensland Symphony Orchestra and St Peter’s Lutheran College Choir, conducted by Nigel Gaynor, added to the enchantment with a glorious rendering of the familiar Tchaikovsky score.
Will there be another 10 years of The Nutcracker? Who knows? But, with a record 25 performances almost sold out this season, it seems that audience appetite for the ballet has not diminished.
– DENISE RICHARDSON
'The Nutcracker' continues until December 23.
See article 'Cancel Culture and the Ballet' here.