Queensland Ballet
The Nutcracker
Playhouse, QPAC
December 5
Queensland Ballet’s annual season of The Nutcracker is now firmly entrenched in the Brisbane pre-Christmas calendar. Brought into the company’s repertoire in 2013 by then Artistic Director Li Cunxin, the naysayers were sceptical that this thematically Eurocentric confection of a ballet would appeal to sub-tropical Brisbane audiences. How wrong they were! Twelve years on, not only is this Ben Stevenson production of the popular ballet packing houses, but a new production by Derek Deane is planned to take over, continuing the tradition, from 2026.
Stevenson’s Nutcracker hasn’t the opulent grandeur of some other productions, instead possessing a whimsical charm that perfectly fits the QB company. Visually the production is enchanting, with set and costumes designed respectively by Thomas Boyd, and Desmond Heeley (with Noelene Hill), and enlivened by the magical lighting of David Walters, The Queensland Symphony Orchestra and St Peter’s Lutheran College Choir, under Nigel Gaynor, again adds to the enchantment with a glorious rendering of the familiar Tchaikovsky score.
The opening Christmas party scene, set in the family Stahlbaum’s rustic farmhouse of rich browns, reds and greens, has each of the characters clearly described, and the action happily pulling focus in all directions. While the on-stage energy seemed a little flat initially on opening night, Rian Thompson’s doddery Grandfather, partnered again by Sophie Zoricic as the delightfully bossy Grandmother, together with Vanessa Morelli as the eccentrically deaf Auntie, made up a trio of tippling octogenarians, that always got a laugh.
Jessica Stratton-Smith was sweetly demure as Clara and anchored the ballet well throughout both acts, while Frederick Montgomery perfectly captured the mischief-making annoyance of her brother, Fritz. And as the enigmatic, black-caped Dr. Drosselmeyer, Vito Bernasconi again conjured magic with a deft and dazzling elegance.
The pace picked up with the entrance of the Rats en pointe, which never fails to raise a laugh. The ensuing fight scene led by the King Rat (Thompson again)), and the sword-wielding Nutcracker (Luca Armstrong) with his troop of look-alike soldiers, remains more pantomime than high drama, delivered as usual with wit and style.
The Land of Snow’s frosty blue and white setting is visually striking – within it the corps, light and buoyant as swirling snowflakes, and Neneka Yoshida, (now one of only three principal artists in the company), a very regal Snow Queen. Her pas de deux with the Prince (soloist Edison Manuel), of broad sweeping movement, soaring lifts and expansive use of the upper body, began well with Manuel possessing an elegant line and spongy ballon. However, his partnering seemed somewhat tentative on occasion, particularly in supported turns. No doubt repeat performances will iron out such wrinkles.
The final act of the ballet, (Kingdom of Sweets), being little more than a series of divertissements, moves at a cracking pace to keep the attention, and along with its powder blue setting of art nouveau inspired swirls and bright pink candy adornments, guarantees the audience a visual feast.
The Arabian Dancers, (Lina Kim, supported by Thompson), mesmerised the audience with a series of elegant and sinuous lifts, Lewis Formby and Taron Geyl were convincing Karate chopping, sword wielding Chinese Dancers, while Mother Ginger (Young Artist Lev Miller) and her tightly rehearsed Ginger Children provided humour with several sight gags. Ivan Surodeev however, almost stopped the show with his explosive Russian Gopak – one of the best since 2013.
The penultimate divertissement, the Waltz of the Flowers – a swirling eight-dancer bouquet of pinks, apricots and green – showed immaculate lines and technical finesse, with the Lead Flower Couple, Principal Artist Lucy Green, ably partnered by Joshua Ostermann, raising the bar further with a bucket load of graceful elegance.
Finally, Senior Soloist Chiara Gonzalez was an enchanting Sugar Plum Fairy, showing a delicate, pliant precision in her solo, and together with Manuel, exploring every musical nuance of the gloriously grand pas de deux.
Over the years The Nutcracker has almost been a marker of Queensland Ballet’s growth, and the comings and goings of its dancers. Sadly, at this point in its history, because of budget cuts, the company’s senior ranks (of men especially) lack depth, and it’s noticeable. It’s a concern that prompted the dancers to independently create a petition “Parity is the Pointe” calling on the Federal Government to increase support. In a very surprising move on opening night, at the end of the final curtain, the dancers, including those who hadn’t performed, came out on stage and delivered a plea for audience members to sign the petition requesting funding parity for QB with other Australian dance companies.
Arts funding continues to be a vexatious issue. How wonderful if only a good sprinkling of Sugar Plum Fairy dust from this delightful ballet could solve the problem.
– Denise Richardson