There was new wintry excitement inside the East County Performing Arts Center last weekend. San Diego Ballet's "The Nutcracker" had its signature theatrics and familiar choreography, designed by co-directors Robin Sherertz-Morgan and Javier Velasco, and oodles of adorable children. But unlike previous offerings, stronger dancing in key roles and the Grossmont Symphony Orchestra and Master Chorale made this year's opening night sweeter.

San Diego Ballet dancers in the elegant snow scene. Photo: Manuel Rotenberg

The highlight of Friday night's performance was Abby Avery as the Sugarplum Fairy, who anchored the retinue of dancing candies, snowflakes, flowers, and exotic characters. Though Avery has danced many principal roles, her beaming smile and energy served her especially well in this perky portrayal. Musical and theatrical, she was radiant in her celesta variation, skittering en pointe and pushing the air with expressive hands. Her turns and extensions were flawless thanks to her confident partner Carlo Di Dio. Their pas de deux included soaring overhead lifts and several plunging fish dives that were both playful and romantic.

Stephanie Maiorano was also memorable as Dew Drop in the Waltz of the Flowers, demonstrating dramatic presence and strong balance in a string of fouettes.

Equally dramatic was a silver-haired Velasco as Drosselmeyer, the mysterious uncle/godfather, who charms and frightens young and old. As in previous years, his interpretation went beyond the odd magician cliché. He was an ominous yet intriguing figure in the vein of Barnabas Collins the vampire, who reappeared throughout the fantasy.

Historically, "The Nutcracker" has been a testing ground for young performers. Tessa Meads as Clara, the young girl who is swept away to the Kingdom of Sweets and thoughts of romance, offered some lovely dancing and convincing emotion in Act I. Gabriel Krut as her brother Fritz was a fine brat. Mashun Tucker as the prince was tentative and needed more direction. But everyone has to start somewhere, and watching emerging dancers and their growth year after year is part of the fun.

The second act divertissements were lively and a bit uneven. Rachel Sebastian (ably partnered by Askar Kettebekov) was stunning in the Arabian dance of stretchy undulations and backbends, and a quick lift onto Kettebov's shoulder. Julio Catano as the Russian Cossack pushed the envelope with spread-eagle jumps and circling leaps. The crowd loved the bravado, but technically he was a bit shaky, and the scene felt sparse. A male trio of skilled comrades would have made the sequence stronger.

The production also included fiery footwork and macho cape twirling in the Spanish dance (Bernadette Torres and Martine Perez), twirling streamers for Chinese tea, and an unusual twist on the Marzipan dance. Dressed in Bavarian vests, the ensemble seemed to be leftover from Oktoberfest until a string of little sheep cut through their dance. Like most companies, San Diego Ballet didn't miss an opportunity to showcase its tiniest dancers.

It was not a lavish production. Sets were simple. Act I included a staircase and a Christmas tree that grew out of the floor. Costumes were colorful and appropriately festive. The snow scene was most impressive with an endless supply of snowflakes fluttering down onto the Snow King and Queen (Trystan Loucado and Rachel Sebastian) and an elegant corps of spinning snowflakes.

The holiday classic debuted in St. Petersburg in 1892. Americans have been enthralled with Balanchine's staging since its premiere in 1954 and the countless permutations of that tradition ever since. There are at least seven on view in the San Diego area this month.

Morgan and Velasco's lighthearted formula is to keep the old chestnut fresh by mixing classical ballet with entertaining theater and popular culture. For example, Ted Barudson as Mother Ginger gestured the Macarena and YMCA letters as he released tiny Gingersnaps hidden under his voluminous hoop skirt. Instead of a Mouse King, this production had an army of giant rats, including a Rat Queen (Christine Owen) and diapered rat babies who sobbed when the King (Catano) died in battle.

And while many companies drift through the party scene with dull pantomime, San Diego Ballet's staging was filled with colorful characters, comic timing, and fun subtext: a dad sneaked swigs from a flask, a philanderer groped the maid and a life-sized doll, and perfect parents struggled to keep their marriages and wild children in line. Granted, the "geezer" dance with grandma and grandpa slipping into dementia was over the top.

But San Diego Ballet is clearly finding a balance between theatrics and classical ballet, and made a smart alliance with the Grossmont Symphony Orchestra and Master Chorale. For the two nights in East County, audiences enjoyed the sights and real sounds of "The Nutcracker." Directed by Randall Tweed, the live music was ear candy, with only a few sour notes, that surpassed any recorded offering.

San Diego Ballet's "The Nutcracker" continues [with the San Diego Children's Choir] Dec. 17th and 18th at UC San Diego's Mandeville Auditorium.

Program

Cast Act I

Cast Act II

Musicians