Oberon's Grove: 2007 NUTCRACKER #6

Sunday December 30, 2007 matinee - I thought that five New York City Ballet NUTCRACKERs would be my limit this year, but looking into the final week I liked this afternoon's cast which gave me an opportunity to see our newest principal, Abi Stafford, dancing with that outstanding corpsman Adrian Danchig-Waring and to check out newly-appointed-soloist Savannah Lowery's Dewdrop for a second time. Added attractions were Glenn Keenan & Christian Tworzyanski in Hot Chocolate, Rebecca Krohn's Coffee, Vincent Paradiso in Tea, and encores from Troy Schumacher in Candy Cane and Lauren King in Marzipan.

These roses are for Abi in honor of her promotion. How well I remember when she first ventured over to the stage of the State Theatre from SAB: during one of the Company's injury/illness/pregnancy crises in 2000 Ms. Stafford at the tender age of 17 was pressed into service in leading roles and I admired her right from the start for her technical assurance and girl-next-door prettiness. As the seasons passed I was particularly taken with her in VALSE-FANTAISIE and TWILIGHT COURANTE; in both ballets she was partnered by Benjamin Millepied and I thought they really brought out the best in one another. Things were progressing nicely for Abi when she sustained a serious injury and was absent for quite a while; a premature comeback didn't work out. When she finally put that episode behind her, I was fascinated to find that the girl-next-door had grown up beautifully and gained the poise and control of a mature ballerina while keeping her freshness and her natural sense of the music. Abi's first Sugar Plum Fairy, magnificently partnered by Charles Askegard, was a revelation for me; I knew she was going to hit the big time. Now I feel we have so much to look forward to from Abi.

It turns out I made a really good choice by going today. As the NUTCRACKER season winds down, after something like fifty performances, one might have expected everyone to be tired and joyless; instead the afternoon sparkled. Faycal Karoui in the pit had a lot to do with that. If he tends to be too speedy at times, he also really knows how to show off his orchestra. The musicians play with great fullness of tone and Maestro Karoui gets lots of dynamic variety from them as well as subtlety. A bottle of champagne for Arturo Delmoni who gave us a suave violin interlude today.

The party scene benefited from Dena Abergel's kindly Frau Stahlbaum and from Adam Hendrickson's extraordinary Drosselmeyer. Adam uses his hands to mesmerizing effect, and he constantly varies his interpretation so that it always piques our interest. Today he attempted to duplicate Likolani Brown's airy Columbine arabesques, thus aggravating his back. Anthony Huxley's lively soldier doll was magically 'controlled' by Adam. Joshua Shutkind was especially effective as Drosselmeyer's nephew: he really didn't want to leave Marie when the party ended. Later, transformed into the Prince, his mime sequences were very clear and animated.

After being the cuddly-looking Grandmother at the party, Kathryn Morgan floated out to open the Snowflake scene. Katie reminds me facially of some photos I have seen of the teen-aged Suzanne Farrell. She has some of Farrell's magic in her presence as well.

Glenn Keenan & Christian Tworzyanski were a new match up for me in Hot Chocolate. Glenn was a thorough delight as she managed to phrase some subtly sustained balances into the lively choreography. Christian took good care of her and spun off a successful air turn combination at the end of their duet. Rebecca Krohn in Coffee looked superb and her dancing was cool and assured. She is one of the most interesting and vividly attractive of the dancers now on the rise at City Ballet. I'm waiting for her Sugar Plum. With Charles Askegard. Please.

Vincent Paradiso rehearsing Tea. Vincent's reflection peeks over Rosemary Dunleavy's shoulder in this great rehearsal photo, one of so many in Kyle Froman's book IN THE WINGS. Vincent is such a dynamic dancer, and he was getting the same elevation today. I was also very taken with the impish by-play which Erica Pereira and Stephanie Zungre brought to the keepers of the Chinese box. Troy Schumacher was a breezy Candy Cane today - fine hoop-work - and Justin Peck the maternal Mother Ginger.

Rachel Piskin, Alina Dronova, Likolani Brown and Faye Arthurs provided an alluring backdrop for Lauren King's Marzipan; Lauren brings a smooth lyric quality to this piece - I've been told it's quite fiendish to dance - and she makes radiant eye contact with the audience as her combinations bring her forward. Savannah Lowery's expansive Dewdrop was very exciting today; she has a nice sense of building the role. Coolly recovering from a tiny mis-step at one exit, Savannah lavished us with some grand fouettes and balances as the Waltz sailed on. The elegance of Ellen Ostrom and the enormous warmth of Gwyneth Muller were a joy as they led the corps thru Balanchine's choreographic masterpiece. And what an attractive garland of Flowers!

Abi's Sugar Plum Fairy exuded star quality from the moment she came into view. Her smile is captivating: she is one of those ballerinas who always conveys the joy of dancing. In the opening solo, Abi's innate musicality etched the steps perfectly into the magical sounds of the celesta. Her technique is pristine, everything so clear and with a wonderful satiny finish. How many times have I seen this solo danced? I've lost count, but Abi's is a jewel. I loved the way she varied her greeting of each of the soloists as they bowed to her; and the little interlude after she has had the children enthroned and takes her leave - the big jetees and the wafting turns - was another nice moment. She and Adrian Danchig-Waring (in a Kyle Froman photo) are another very intriguing partnership among several that are showing potential among the younger ranks of the Company. As a dancer I usually think of Adrian as contemporary in style, but he showed here the gallantry and refinement that well suits this purely classic pas de deux. Abi & Adrian seamlessly executed the various demands of the adagio; only the first series of supported pirouettes to backbend were slightly mis-timed, though I sensed that Karoui might have slightly slowed the tempo there throwing them off-rhythm. No matter - just something to smooth out for next season. The two flights of Abi to Adrian's shoulder were dazzling; Abi's extensions were always ideally set to the music - her foot just peaking to match the harpist's arpeggio. And, with true principal-ballerina savvy, Abi saved the best for last: a tremendous balance when Adrian let go of her hand. Magnifique! Let's have Abi & Adrian in SLEEPING BEAUTY...the sooner, the better.

Comments

I'm one of the most ardent of Nutcracker fans but by the end of December, even I am ready to put it to rest for another year. But after reading your review, I almost wish they would extend the run for a few more days so I could watch the Abi/Adrian pairing. Abi is indeed a gem - there is so much to look forward to from her. In addition to the ballets you mentioned, one of my favorite roles of hers has been the main soloist part in Walpurgisnacht. Also, your observation regarding the resemblance of Kathryn Morgan (both in look and presence) to the teen-aged Suzanne Farrell is right on target!

Posted by: Bob | December 31, 2007 at 04:35 PM