You know it's not your commonplace, extravagant schmancy "Nutcracker" Christmas party when the servant shakily rushes by on the mixed drink truck, helped along by a running Herr Drosselmeier who's a cross between an awful steampunk kid and the craziest, coolest uncle ever.
In the Atlanta Ballet's "Nutcracker," which opened at the Kennedy Center Opera House on Wednesday, pretty much everything about the standard occasion artful dance is whomped up, reevaluated, and dug for either chuckles or meaning or both. I have seen a great deal of "Nutcrackers," and this one, made by Yuri Possokhov, inhabitant choreographer at San Francisco Ballet, tops them all as the most engaging just as the smartest. The first minutes resemble being shot out of a gun, as video pictures anticipated over the stage turn us quickly through a frigid night to a German city in the mid-nineteenth century. The feeling of speed in this flying, swooping point of view is extreme, particularly in case you're inclined to vertigo, and it's a help when the emphasis at long last chooses the artist who plays Drosselmeier, the clockmaker and blessing bearing back up parent who gets the story underway. Through speculative chemistry of video projection and activity on the stage, Drosselmeier seems, by all accounts, to be bouncing through his very own fantastical motion picture, which spins us from his mysterious shop to the doorstep of the Stahlbaum family unit.
Tags : Stahlbaum family unit, San Francisco Ballet, Kennedy Center Opera House, Nutcracker, Christmas party,