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Keshet Dance Company’s “Nutcracker on the Rocks” returned to the National Hispanic Cultural Center for its 16th annual performance Friday evening, with a cast of 100, ages 7 and up, and combining professional dancers with students of all abilities.
Opening and closing with music from Tchaikovsky’s original music for the “Nutcracker Ballet,” this joyful and exuberant production tracked the story from E.T.A. Hoffmann’s “Tales,” carrying characters from the Act I party scene into new personae in the dream sequences.
The handsome Hottie at the party, danced by Vladimir Conde Reche, becomes a Nutcracker Prince for young Marie, danced by Kristy Medina, and the Mean Lady from Act I becomes the Rat Queen in Act II.
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If you go WHAT: “Nutcracker on the Rocks.” WHEN: Sunday, Dec. 2, 2 p.m. and 6 p.m. WHERE: Roy E. Disney Center for Performing Arts at the National Hispanic Cultural Center. HOW MUCH: Tickets: $24 to$32, children 5 and younger at half price. Call 246-2261 or visit www.nhccnm.org. |
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Company founder and director Shira Greenberg choreographed a contemporary re-imagining of the classic ballet, using music from Aretha Franklin, The Rolling Stones, Janis Joplin, James Brown and others. Ballet, modern, hip hop, swing and African fused remarkably well in Act I, and the usual “Land of the Sweets” variations were replaced by three groups of dancers moving in styles from 1920s, 1950s and 1960s.
Herr Drosselmeier, transformed into a glamorous Madame Drosselmeier wearing the traditional swirling black cape, entered in Act I riding a silver Harley Davidson. When she waved two large trunks onstage, they opened on a group of toy soldiers in one, and toy dolls in the other who danced and interwove with each other and the party guests. The choreography was tight, with sharp mechanical moves by the dolls, who never lost character as they were manipulated and carried around by the crowds of children and adults.
The Snow Flakes were shifted to Act II and demonstrated Greenberg’s gift for mingling large crowds of people on stage, who moved at various levels of expertise. She incorporated movement from and upon wheelchairs with the overall flow of windy ambiance throughout. All were costumed in white, from tiny tutus to flowing tunics, and floated around each other in and out of groupings. Conde Reche wandered among them, and from time to time lifted a tiny dancer high above the rest.
The ’20s group glittered in their Charleston-like steps, and the ’50s dancers, wearing cute poodle skirts, jived into line dance patterns, forming a pyramid at the end. The ’60s group swept on in tie-dyed shirts like escapees from “Hair” with soul rock exuberation.
The Rats and their Queen were the hits of the show. Sarah Elizabeth Bennett exuded a comical creepy sense of spite in a vengeful attack full of conniving, gymnastic bravura, and a wonderful sense of fun as Queen. The Rats crawled, stalked, and twirled in fantastic off-center turns.
Jamie Book, as Drosselmeier, sparkled with clean professional technique as she seamlessly shifted from classic to modern and jazz styles. In their closing love duet, Medina and Conde Reche carried off nice allusions to the Pas de Deux of the Sugar Plum Fairy and her Cavalier. Conde Reche sprang into the traditional turning barrel leaps and partnered Medina in smooth promenades and penché dips, executed by Medina with elegant leg extensions.
This imaginative holiday event continues to charm with humor and kindly attention to the Albuquerque community.
