Arts Alive San Antonio

By JASMINA WELLINGHOFF, Editor

Though so many live stage productions have been cancelled this year, that’s not going to be the case with Ballet San Antonio’s Nutcracker. It will be different, more high-tech, and a little tweaked all-round but it promises to be just as enchanting as always, with great dancing and computer-generated special effects.

This is a “Nutcracker” for the time of COVID, that’s choreographed to avoid crowding the stage and close physical contact. Which also meant that normal procedures followed to get a show ready for the stage had to be changed, too, including regular company rehearsals in the studio. For choreographers, Easton and Haley Smith, the situation presented huge challenges.

So, to begin with, it was decided to frame the story a little differently. This year, the curtain will go up to show grown-up Clara and her husband William celebrating Christmas in their new home. They start to reminisce about Christmases past when, as children, they participated in the grand Stahlbaum family holiday celebrations. Then Herr Drosselmeyer drops by, and “the three begin to see the unfolding of events that will once again whisk Clara and her Nutcracker Prince away to the Land of the Sweets.”

“We had to create a story that could explain why people on stage are not touching each other, especially in the opening party scene where you normally have all that kissing and hugging,” explained Easton Smith. “The cool thing is that in memories things can be more abstract, which allows the dancers to be more socially distant from each other.”

But the real challenge was in developing choreography in the absence of actual dancers.

“Since we don’t have the ability to be in a rehearsal studio with the company, Haley and I had to set every part without any dancers,” said Easton. “It’s a little like asking a painter to color one sheet of paper blue, another yellow, and the next grey, and once they overlay everything it should produce one picture. We had to choreograph a 20-person ballet with only two people (him and his wife), doing what every single member of the cast would have to do on stage. We also had to imagine the other dancers doing their parts in order to “see” the entire stage composition (of a scene) and movement. It’s crazy! I have never experienced anything like it.”

Once they figured out the choreography for every dancer in various scenes, they would send the recording of themselves dancing each of those parts to the ballet masters who then helped the dancers to learn their moves. The Smiths have a private YouTube channel for this purpose. To make it all easier on the ballet masters and dancers, they first explained their intentions on the recording and followed up with demonstration accompanied by the appropriate music from the score. Corps de ballet scenes were even more challenging.

“All of those things are done in a matter of moments in the studio, but doing it in pieces like this takes hours and days,” noted the choreographer.

And there will be some touching after all. Ballet is ballet and dancing duets -known as pas de deux – are a big part of every classical work, including “The Nutcracker.” Thus, Clara and William will be touching while dancing together as will be the Sugar Plum Fairy and her Cavalier. In other instances, technology is summoned to create effects that enliven the story in a novel way.  For instance, the toy soldiers are now computer animated graphics that interact with mice played by real people. The famous growing of the Christmas Tree is also controlled digitally, and the Snow Scene “is even more beautiful,” noted Easton.  Clara and William perform as partners in the first part before the Snow Queen steps in to eventually lead them to the Land of the Sweets – all against an animated snow-falling background, designed by Toxey/McMillam Design Associates.

“I think that the computer-animated projection is going to bring the set alive the way that we have never seen before and create magic that’s truly awe-inspiring,” said Easton.

Another adaptation involved the editing of the famous Tchaikovsky score to make it fit the faster, shorter production.

Eighteen-year-old Brenna Mulligan, who was introduced as Clara two years ago, is back this year, shouldering much expanded responsibilities. “She has the hardest part of the whole ballet,” noted Easton with clear admiration in his voice. “She is so exceptional. It’s unbelievable to see someone so young taking on this role and telling an incredible story through her maturity and technique. It is phenomenal.” On opening night, her partner, William, will be portrayed by Aidan Javier Carrasquel.

Also winning accolades from the choreographer is First Soloist Sofie Bertolini who will dance the part of the Sugar Plum Fairy with partner and company member Michael Agudelo – “a match made in heaven” quipped Easton. Soloist Heather Neff will be the Snow Queen. But since there are so many performances, a different group of leads may be featured the night you see the show.   

“I think that the length that Ballet San Antonio has gone to, to make sure that its community and dancers are not deprived of the annual “Nutcracker” is exceptional. In fact, they are getting something even better,” said Easton.
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“The Nutcracker” opens Friday, Nov.27 at 7:30 p.m. and runs Fridays (7:30 p.m.), Saturdays (2 and 7:30 p.m.) and Sundays (2 p.m.) through Dec. 13; Tobin Center for the Performing Arts; tickets $40 – $114, at Tobin’s box office 210-223-8624; in person 100 Auditorium Circle, 78205, or online at www.balletsanantonio.org