The Nutcracker
Universal Ballet
Thursday, Nov. 30
There is nothing quite like seeing “The Nutcracker”
to officially welcome the holiday season.
The children’s fairy tale is an eternally popular
family-friendly fixture of winter. Its ubiquitous musical score
follows us through Macy’s as we shop for loved ones, and its
icon, the nut-crunching toy soldier, adorns greeting cards,
ornaments and even a few holiday jumpers. Anyone viewing “The
Nutcracker” wants the experience to be like a tasty holiday
treat: warm, enchanting and utterly fulfilling.
Last weekend, the Universal Ballet Company returned to Los
Angeles with their production of “The Nutcracker.”
Based in Seoul, South Korea, the Universal Ballet Company is
widely regarded as one of the world’s pre-eminent classical
ballet companies. Under the guidance of Julia Moon and the artistic
direction of Oleg Vinogradov, their performances of canonical and
contemporary ballets have wowed audiences across the United States
since the mid-1980s.
Their latest production of “The Nutcracker,”
however, fell slightly short of the monumental expectations set by
previous engagements.
The performance’s problems came primarily from production
technicalities ““ perhaps the result of a sloppy stage crew or
evidence of a rushed production. Either way, they certainly
impacted how the audience received the performance.
The night’s first error was that the show started about 25
minutes late. After the audience’s third or fourth rally of
applause, the lights finally dimmed.
The music was also problematic throughout; given the high price
of orchestra seats, one expects an orchestra. Instead, the audience
got canned music with a static quality.
Finally, there were two distracting incidences in which a
backdrop was impeded, resulting in an incomplete set. It was a
shame because the sets, designed by Simon Virsaladze and Simon
Pastukh, were elaborate and well-crafted.
A final complaint was the lighting; at times the stage was
glowing, and then suddenly, entire sections of the stage would go
dark.
These tiresome aspects are not to be confused with the quality
of the actual dancing, which, true to Universal Ballet’s
reputation, was rather outstanding.
The first two scenes of “The Nutcracker” are
notoriously difficult to make entertaining for adults. Real life
collided with the stage in these scenes as local children performed
with Universal Ballet. Given the limited rehearsal time and their
young age, they performed at an unusually professional level.
Act II, the Kingdom of Sweets, showcased what Universal Ballet
is best known for: traditional Russian technique.
The company’s soloists did not disappoint in the Spanish,
Chinese, Arabian or Russian dances. Each was uniquely flavorful and
a close representation of the original choreographic concept.
The evening’s real treat was the grand pas de deux with
Clara and the Prince.
The show’s principle dancers, Hye-Kyung Lim as Clara and
Semyon Chudin as the Prince, were magnificent. Once they took the
stage, the show really began. Their fluid partnering and flawless
elegance made the evening worthwhile.
However, Chudin’s rare talents were not fully exploited by
the performance. He was largely relegated to the role of partner
instead of true principle dancer.
As demonstrated in Dance of the Snowflakes and Rose Waltz, the
corps de ballet was superb. The Russian method of Vaganova training
is evident in the dancers’ solid technique, elegant lines and
precise footwork.
Despite the best efforts by the dancers, the production did not
captivate its audience. Was something lost in translation? At the
curtain call, the crowd was a bit restless, uneager to continue
applauding.
This “Nutcracker,” unlike the dancers’ leaps,
never fully took flight.