Dance Overview: New York City Ballet Offers ‘G. Balanchine’s The Nutcracker’

December 2nd, 2013

Andrea Mohin/The New York Instances

New York Town Ballet Teresa Reihlen, leaping, in the holiday getaway traditional “G. Balanchine’s The Nutcracker,” now at the David H. Koch Theater.

As is classic on the day following Thanksgiving, New York Town Ballet turned on Friday to tree worship. The young children in “G. Balanchine’s The Nutcracker,” as it is billed, rise up, arms outstretched towards the onstage Christmas tree, and look to be pulled in by the tinsel and lights. They leap up and down in entrance of it like young adults idolizing a pop star. And that is before the tree, presently enormous, grows three instances as huge.

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Rapt focus is what this “Nutcracker” tends to encourage between kids in the viewers, way too, including the children who have grown into adults. Of training course, it’s not just the tree that attracts viewers in. There is the detail-wealthy social gathering scene, the battle with the mice, the journey by mattress, the snowstorm, and then all the dancing in the Land of Sweets. And, oh yes, Tchaikovsky’s magical rating.

This generation is evergreen, but specific performances make a big difference. On Friday at the David H. Koch Theater, eleven-yr-aged F. Henry Berlin stood out. His Fritz was a large-spirited brother, not a brat, to Rommie Tomasini’s sunny Marie even while he was creating trouble, the classy styles of his dancing spoke of civility. Each and every gesture of the wonderful eleven-12 months-outdated Maximilian Brooking Landegger manufactured clear why Marie finds Herr Drosselmeier’s nephew fascinating: Even before he turned a prince, his pointing of a foot marked him out as a single.

Much of “The Nutcracker” is about kids imitating developed-ups, studying how to be grownup with out getting rid of their imaginations. Mr. Berlin and Mr. Landegger experienced a wonderful model in the Drosselmeier of Robert La Fosse. His avuncular inventor is a functionality of several levels, and the contradictions are what make his character mysterious, eye-catching and a little bit terrifying, as an avatar of adulthood should be.

The grandeur of Teresa Reichlen’s Dewdrop is to be expected, and her jumps down a diagonal churned the air majestically. But a lot more shocking in this tall dancer was her pace. The distinction it made with the almost drowsy dreaminess of her method was an intriguing mix of stately and tempestuous. As the Sugarplum Fairy, Megan Fairchild supplied her personal mixture, reliable and buoyant. But her customary caution remained a hindrance when the music expanded, she did not.

At the Saturday matinee, the Drosselmeier of Adam Hendrickson, the Fritz of Philip Henry Duclos and the Nephew of Lleyton Ho had been all admirable, just far more regular. As Marzipan, Lauren Lovette was specifically beautiful, sweet and crisp, though she could be crisper nevertheless. Sterling Hyltin’s Sugarplum Fairy sparkled like her costume. She wasn’t at her fullest radiance, but her dancing was amazing adequate to remember the regular object of worship in a Balanchine ballet: the ballerina.

“G. Balanchine’s The Nutcracker” carries on by means of Jan. 4 at the David H. Koch Theater, Lincoln Middle 212-496-0600,

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