THE NUTCRACKER SUITE IS
SWEETER THAN THE NUTCRACKER
American Contemporary Ballet’s advertising for their annual production of The Nutcracker Suite, now playing Downtown in Bank of America Plaza, is misleading. Their scant imagery suggests that it would be an austere and intellectual outing for adults ̶ theatrical vegetables, if you will. However, it turned out to be a delightful and digestible family experience.
This is far from a typical production of Tchaikovsky’s The Nutcracker. Director and choreographer Lincoln Jones dispensed with just about everything we’ve come to expect; there’s no plot and no nutcracker, but we get most of the music. The bulk of a traditional Act I takes place at a dinner party. Instead of staging it, Jones hosts a party, with snacks, cider for the kids, and champagne for the grownups. During our little party, the orchestra played the music from Act I. A few dancers mingled and entertained the kids. I especially liked the wind-up “doll” who had to be wheeled out on a dolly. There were lots of kids (almost entirely girls) who got to play on the stage and run around. It was amusing watching staff members patiently herding them to their seats when it was time for the show proper to start.
The 11-vignette ballet begins with “Waltz of the Snowflakes,” and covers most of the music from Act II. After the waltz, the sugar plum fairy danced as if she were a puppet. Then it was time for the first snack break (Yes, more than one!), where two dancers passed out ice cream. When the dancing resumed, we got “Coffee (Arabian Dance),” a sultry duet with an Egyptian flair. “Tea (Chinese Dance)” was a staccato solo performed entirely on pointe. Other highlights included “Mother Ginger,” a sunny mother-daughter duet, and “Candy Canes,” danced while wearing mini hoop skirts adorned with Christmas garland. The audience, including the children, were thoroughly absorbed by “Grand Pas de Deux.” The cast changes for every performance, but all the dancers are equally strong.
A big part of the rationale of staging this Nutcracker in the bowels of the Bank of America skyscraper is using the dull corporate atmosphere to heighten the fantasy of the show. Entering the performance space is a bit of a shock. Production designer Max Jezek laid snow all over the floor and spray-flocked the windows white, blocking out everything from the outside world and giving a wintery feeling. Lighting by Payton Jane was soft and cool throughout, but somehow felt warm. Perhaps that was due to Ruoxuan Li’s light and summery costumes. Music director Morgan Jones, at the piano, led the nine-piece unamplified ensemble, which included a two-voice chorus. Their playing was sensitive and gave an air of being at an exclusive gathering.
Those looking for a traditionally-staged Nutcracker would be better off elsewhere. However, I enjoyed this far more than the last full production I saw at the Music Center, where the balcony was full of noisy little girls in tutus and their neglectful parents. This show was well-paced and kept the kids’ attention throughout, made all the more special by being able to see these excellent dancers up close in a very intimate space.
photos by Anastasia Petukhova
The Nutcracker Suite
American Contemporary Ballet
Bank of America Plaza, 333 S Hope St. in Downtown LA
ends on December 24, 2024
for a full list of show dates and tickets ($75-$135), visit ACB
