The Nutcracker for Audience Production Guide
←
→
Page content transcription
If your browser does not render page correctly, please read the page content below
Audience Production Guide
for
The Nutcracker
Audience Production Guide for
Pittsburgh Ballet Theatre’s
The Nutcracker
December 7 – 30, 2012
Benedum Center for the Performing Arts
Choreography by Terrence S. Orr
Costume and Scenic Design by Zack Brown
Music by Pytor Ilych Tchaikovsky
Production Sponsors
Family Series Sponsor Student Matinee Sponsor In-Step Sponsor
Pittsburgh Ballet Theatre’s Arts Education programs are also supported by the following:
Allegheny Regional Asset District The Heinz Endowments
Allegheny Technologies, Inc. Net Health Systems
Buncher Family Foundation Pennsylvania Council on the Arts
Anne L. and George H. Clapp Charitable and Pennsylvania Department of Community and
Educational Trust Economic Development
Claude Worthington Benedum Foundation PNC Bank
Cleveland Brothers Equipment Co., Inc. PPG Industries, Inc.
Direct Energy Business Richard King Mellon Foundation
Dominion Foundation James M. and Lucy K. Schoonmaker
First Commonwealth Bank Foundation
Henry C. Frick Educational Fund of The Buhl Target Stores
Foundation Edith L. Trees Charitable Trust
GENCO Supply Chain Solutions UPMC Health Plan
The Grable Foundation Hilda M. Willis Foundation
Hefren-Tillotson, Inc.
Cover photo by Lois Greenfield
Artists: Alexandra Kochis, Christopher Budzynksi
Produced by PBT’s Department of Arts Education and Community Engagement, 2012
2
Table of Contents
The Original Ballet
A History of The Nutcracker Ballet ……………………………………………………………….4
The Composer: Pytor Ilych Tchaikovsky………………………………………………………..6
PBT’s The Nutcracker
Synopsis……………………………………………………………………………………………….7
Creating a New Ballet……………………………………………………………………………….9
The Pittsburgh Connection………………………………………………………………………..10
The Choreography…………………………………………………………………………………..12
Signature Steps: The Pirouette…………………………………………………………..15
The Costumes………………………………………………………………………………………..16
The Scenic Design…………………………………………………………………………………..19
Review Reflect Respond
How the Critics Responded……………………………………………………………………….21
For Further Thought………………………………………………………………………………..21
3
The Original Ballet
A History of The Nutcracker Ballet
The Nutcracker ballet was created in 1892 at a time in Russia when a Czar and Czarina reigned over
an imperial court in St. Petersburg. The famous Imperial St. Petersburg Theatrical School and the
Maryinsky Theater were under the patronage of the royal family as respect for art and music was a
highly regarded czarist tradition.
Programs of music, opera and ballet were regularly created and
performed for the entertainment of the czar. The Intendant of the
Imperial Theaters, I. A. Vsevolozhsky, decided to create a ballet
based on E.T.A. Hoffmann's rather dark story, The Nutcracker and
the Mouse King. E.T.A. Hoffmann was a German writer who was
extremely popular in Russia and his story was widely known.
Translating the story into a ballet, however, was the job of Marius
Petipa, the ballet master at the Imperial School. Petipa took the
story of The Nutcracker and laid out the frame on which the music
and choreography would hang. Petipa did not read German and he
was not familiar with the Hoffmann tale. Instead, he took the basis
for his plot from a lighter version of the story--The Nutcracker
The Nutcracker and the Mouse King, (Histoire d'un casse-noisette, 1844), by the great French
drawing by ETA Hoffman novelist, Alexandre Dumas, author of The Three Musketeers.
In Petipa’s time, producing a ballet followed a traditional pattern. The next step was to have the
actions and emotions described in Petipa's outline translated into a musical score. The composer was
Peter Ilyich Tchaikovsky (who loved the Hoffmann story). Composers of the time were not always
keen on writing music for ballet as they had to adhere to someone else’s designs and requirements.
Tchaikovsky not only wrote something that elevated the art of music for dance, but it stood alone as a
masterpiece as well. The detail Petipa included in his musical request is illustrated by the following
example from The Life and Letters of Peter Ilyich Tchaikovsky by Modeste Tchaikovsky.
A PROGRAM PREPARED FOR TCHAIKOVSKY
BY PETIPA
IN CONNECTION WITH THE MUSIC DESIRED FOR THE BALLET, CASSE NOISETTE
(THE NUTCRACKER)
No. 1. Soft music, 64 bars.
No. 2. Sparkling music, 8 bars
No. 3. Enter children. Animated and joyous music. 24 bars
No. 4. Moments of surprise and admiration. Few bars of tremolo.
No. 5 Entrée des Incroyables, 16 bars, rococo (tempo di menuetto)
No. 6 Galop.
No. 7 Enter Drosselmeyer. Awe-inspiring but comic music. A broad movement, 16-24 bars.
At this point the music would normally have gone back to Petipa to be choreographed. However,
Petipa fell ill and his assistant, Lev Ivanov, completed and received credit for the choreography.
Story ballets created at the time of The Nutcracker adhered to a specific framework that allowed for
4
the talents and abilities of the dancers to be prominently displayed. (See the list below for definitions
of the following terms.) It centered on a principal character danced by the prima ballerina. The prima
ballerina danced pas de deux with variations and coda, and at least one pas d'action so she could
display her miming abilities. There were also variations for the premier danseur and dances for the
corps de ballet (giving the premier danseur time to change costume!). A sampling of pas de
caractères were included to give soloists an opportunity to display their abilities. Lastly there was a
grand march that brought a mass of
dancers on stage to provide a
backdrop for the ballerina to display
her technique.
The scenery and costumes were
designed within the dictates of
tradition and lavishly executed. The
Nutcracker premiered at the
Maryinsky Theatre, St. Petersburg
on December 5, 1892.
Konstantin Ivanov's original sketch for the set of The Nutcracker, Act II, 1892 PD-US
Classical Ballet Terms
Ballerina: A ballerina is the leading classical or principal dancer of a ballet company. The ballerina will dance
using classical steps and technique. Dances would be created for her as the main or major character of the
story.
Coda: The conclusion or ending of a Pas de Deux.
Corps de Ballet: The chorus of the ballet; dancers who appear in large groups. These dancers provide a
background for the principal dancers and help to fill out story lines. Their dances also provide time for the
principal dancers to change costumes.
Divertissement: A section of a ballet consisting of dances that have no direct connection with the plot. These
dances provide an opportunity for soloists to display their technique and skills.
Pas d'Action: Portions of the ballet that can help to develop the plot or depict an activity, they are a
combination of dancing and pantomime.
Pas de Caractère: A dance that is nonclassical, a character dance, national or folk dance.
Pas de Deux: A dance for two, in classical ballet this is performed by a ballerina and a danseur.
Premier Danseur: Classical male dancer, the first male dancer of a company or Principal Dancer. His dances
will be challenging displays of classical technique.
Prima Ballerina: When there is more than one principal dancer in a company the prima ballerina is the first
female dancer of a company.
5
The Original Ballet
Composer Pytor Ilyich Tchaikovsky
Peter Ilyich Tchaikovsky was born in Kamsko-Votinsk, Russia on May 7, 1840. He was a precocious
child who could read French and German at the age of six and at age seven was writing verses in
French. He began taking piano lessons when he was seven years old. He showed an ultra-sensitivity
to music and had a delicate musical ear.
In 1850 his well-to-do middle-class family moved to St. Petersburg
where he attended school. He was mildly interested in music and at
age fourteen began attempting composition. By the time he
graduated from the School of Jurisprudence in 1859 and had started
work as a clerk first-class, his family had lost most of their money
due to bad investments. Tchaikovsky ended up making a great deal
of money during his life, but gave away much of it and freely spent
the rest.
At age twenty-one he began to study music seriously. He worked
with Nicolia Zaremba until the St. Petersburg Conservatory opened
in 1862. He was one of the best students at the conservatory and in
1866 he moved to Moscow to be a harmony teacher for the Moscow
Conservatory. He led a quiet life there, teaching, composing and
making friends. In 1877, a wealthy widow started to subsidize
Tchaikovsky, a relationship that was to last fourteen years.
Painting of Tchaikovsky by
Nikolay Kuznetsov, 1893, PD-US However, there was one strange condition to the widow's financial
support—that they were never to meet. With this financial
independence, he was able to resign from the Conservatory in 1878.
When Tchaikovsky first began composing music for ballet,in themid- to late 1800s, ballet music was
considered unimaginative; The music world was astonished that such a great composer would "stoop
so low." He went on to compose three full-length ballets that would become enduring masterworks of
the genre: Swan Lake, The Sleeping Beauty, and The Nutcracker. The New Grove Dictionary of
Music and Musicians notes that his “mastery of danseuse” (melodies which match physical
movements perfectly), along with vivid orchestration, effective themes and continuity of thought were
unprecedented.”1
For The Nutcracker Tchaikovsky created a number of musical effects
played on toy instruments, including a toy trumpet, a triangle, a snare
drum, cuckoo and nightingale whistles, and a rattle which produces the
sounds of a nutcracker cracking nuts. Perhaps the most exciting musical
innovation for The Nutcracker was the use of the celeste (che-LE-sta), a
newly invented instrument of the time. Tchaikovsky demanded the
instrument's arrival in St. Petersburg be shrouded in secrecy, anticipating
that it would make a tremendous sensation. The celeste did cause a
sensation and today Nutcracker audiences still delight as the delicate
sounds of the celeste reproduce the dainty steps of the Sugar Plum Fairy.
1
Wiley, Roland John. "Tchaikovsky, Pyotr Ilyich", The New Grove Dictionary of Music and Musicians, Second Edition
(London: Macmillian, 2001), p. 152-53.
6
Learn More!
Click here to listen to an NPR story about the celesta:
http://www.npr.org/templates/story/story.php?storyId=1568920
Listen to excerpts from Tchaikovsky’s score, here:
http://www.nutcrackerballet.net/html/nutcracker_music.html
PBT’s The Nutcracker
Synopsis
Act I
It is Christmas Eve in the early years of the 20th century at the Stahlbaum home in Shadyside. On the
street outside, Godfather Drosselmeyer and his Nephew unload mysterious packages from their
carriage. The guests begin to arrive and as Drosselmeyer introduces them to his Nephew, they are
repulsed by his deformed countenance. Drosselmeyer consoles his Nephew and unveils the
Nutcracker, revealing its role in this night of magic.
In her bedroom Marie, the Stahlbaum's daughter, is reading Kaufmann’s Christmas Stories for Boys
and Girls. Dr. and Mrs. Stahlbaum enter and present her with two special gifts – a beautiful scarf and
a pair of pointe shoes – that signify Marie's coming of age as a young woman. Marie admires her new
self in the mirror and sees a vision from her dreams of a beautiful fairy ballerina.
Drosselmeyer and his Nephew finish their preparations for the party. Alone, Drosselmeyer clutches
the Nutcracker and remembers how his Nephew came to be cursed by the dreaded seven-headed
Rat King. Will tonight be the night the curse is broken?
The party is under way, and the guests
exchange gifts, trim the tree and dance.
Drosselmeyer's magic tricks delight the
children, but he has even bigger mysteries in
store for Marie. He introduces her to his
Nephew, and as Drosselmeyer had hoped,
Marie sees through the Nephew's affliction to
the goodness within him. Next he gives her the
Nutcracker, which she adores. The party
concludes with Drosselmeyer's magical pièce-
de-résistance, a trick which upsets Marie so
much that she runs upstairs. The guests say
their goodbyes and the family retires for the
night.
Stephen Hadala and PBT students, photo by Rich Sofranko, 2009
Drosselmeyer reappears in a swirl of his cape to set the stage for the magic night to come. As
midnight approaches, Marie steals downstairs to find her beloved Nutcracker. But Marie is not alone;
mice and human-sized rats threaten her from every side. Overcome with fright, she faints. When she
comes to, she finds herself and the whole house under a spell. Everything is growing, even
Nutcracker, who becomes life-sized. The mice and rats return to terrify Marie, but Nutcracker rallies
the toy soldiers and storybook characters to rescue Marie. As the battle reaches its peak, Marie's
7
compassion for the Nutcracker ensures victory
over the King of the Rats, and Nutcracker is
transformed into a handsome Prince. He invites
Marie on a journey through the glittering snowy
forest to the Land of Enchantment. Guided by
the Snow King and Queen, they set off on a
magical sleigh ride.
Julia Erickson, Robert Moore, & corps de ballet, photo by Rich
Sofranko, 2010
Act II
Drosselmeyer prepares the way for the arrival of Marie and the Prince in the Land of Enchantment
where the Sugar Plum Fairy, the vision of Marie's dreams, and her Cavalier greet the travelers. The
Prince relates the tale of the battle, telling how Marie saved his life by helping to defeat the Rat King.
In gratitude, the Sugar Plum Fairy presents Marie with a beautiful gift (a tiara). Marie expresses her
appreciation in a dance with the Flowers.
The grand festival begins, with dancers from
many lands entertaining Marie and the
Prince. Her visit to the Land of Enchantment
culminates with a Grand Pas de Deux
danced by the Sugar Plum Fairy and her
Cavalier.
Suddenly, Christmas Day dawns on the
street outside the Stahlbaum home.
Drosselmeyer and his Nephew make their
way to their carriage, stopping to reflect on
the night's wondrous proceedings. Marie's
compassion has broken the Rat King's
curse and the Nephew’s handsome face is
restored
Nurlan Abougaliev and Christine Schwaner, photo by Rich Sofranko, 2011
Marie awakens in her bedroom, wondering at the fantastic nature of the night's events. Was it all a
dream? She finds her beautiful scarf, a souvenir of her visit to the Land of Enchantment. Can it be?
She rushes to the mirror and there, ever faithful, is her Nutcracker Prince.
Watch
a few minutes of PBT’s The Nutcracker in these 2010 commercial spots!
Studio Rehearsal: http://www.youtube.com/watch?v=8wWQnynuvr4&feature=relmfu
Dress Rehearsal: http://www.youtube.com/watch?v=Rc2opNscAsQ&feature=relmfu
8
PBT’s The Nutcracker
Creating a New Ballet
The Nutcracker has been a tradition in Pittsburgh since Pittsburgh Ballet Theatre was founded in
1969. PBT has performed several different versions of the ballet, including former Artistic Director
Nicholas Petrov’s and George Balanchine’s versions. In 2002, Artistic Director Terrence S. Orr
created an entirely new ballet, with an enhanced storyline, new choreography, and a Pittsburgh
theme.
What is unique about PBT's The Nutcracker?
The Storyline
Marie, the main character, is a young woman
"coming of age." As a teenager of about 16
or 17 years old, she is maturing from
childhood with dreams about who she will
become. (Marie is the name of the character
in the Hoffman story; many versions of the
ballet use the name Clara, which is the name
of the character in the Dumas story.)
A focus on the elements of the original
E.T.A. Hoffmann story of The Nutcracker
and the Mouse King. Alexandra Kochis and Christopher Budzynski,
photo by Rich Sofranko, 2009
There is emphasis on an ancient curse that was cast on Drosselmeyer's Nephew, and on his
uncle's plan to break it.
Transformation
The events that take place after the party magically show how the Nephew, cursed to be a
Nutcracker, transforms into his rightful position as a Prince.
The curse is exemplified in human form as an affliction; in this case a patch over his eye. The
love of a young woman caring enough to overlook the affliction is needed to break the spell.
Land of Enchantment
The setting of Act II is an amusement park where Dancers representing different countries and
ethnicities give gifts of dance to Marie and the Prince.
Choreography
Mr. Orr created the choreography specifically for this production (with the exception of the Arabian
pas de deux, which is from an earlier Orr production). It is classically-based but employs more
challenging and complex contemporary technique. Look for the high-flying leaps of the Russian
dancers in Act II!
Costumes
The costumes are made from sumptuous fabrics in vibrant, rich colors that reflect a very vivid, life-like
dream. Authentic folk designs inspired the costumes in the Land of Enchantment.
9
Scenery
The scenic design is large and intense in color and line. It also incorporates historic elements of
Pittsburgh.
What is traditional about PBT's The Nutcracker?
The Music
There are as many versions of this ballet as there are companies that perform it. The one thing that
they all have in common is Tchaikovsky’s music. However, some artistic license is taken with the
music when choreographers adapt the ballet to their own artistic plan. This practice is not unusual in
story ballets. Some choreographers omit parts of the original score for various reasons. In other
instances more music may be added to accommodate a particular scene or divertissement. George
Balanchine was particularly fond of a violin solo that Tchaikovsky wrote for The Sleeping Beauty so he
incorporated it into his production of The Nutcracker. Mr. Orr moved the "Waltz of the Flowers" from
the end of Act II to near the beginning. In order to accomplish this David Briskin, PBT Orchestra
Conductor during the ballet's creation, created a special musical arrangement.
PBT’s The Nutcracker
The Pittsburgh Connection
Artistic Director Terrence Orr added numerous Pittsburgh elements to the ballet to make The
Nutcracker a uniquely local experience.
The Showdrop
The showdrop you see is an artistic rendering of a home that used to exist on Fifth Avenue in the
Shadyside section of Pittsburgh. The
house belonged to F.W. McKee, an
attorney and “enterprising citizen."
His father founded one of the pioneer
glass-manufacturing firms in
Pittsburgh, McKee and Brothers. The
McKees also owned a large estate in
Butler County where Mr. McKee
founded the town of West Winfield.
When he and his family left the home
on Fifth Avenue, it is thought that it
may have passed down through his
sister's family. The large stately
home was torn down and apartment
buildings put in its place.
By Zack Brown
10The Proscenium Clock
At the top of the proscenium (the arch between the stage and the audience) is a large clock with the
head of a Nutcracker in the center. This clock was inspired by the famous Kaufmann's Clock on the
corner of Kaufmann's Department Store at the intersection of Fifth Avenue and Smithfield Street in
Downtown Pittsburgh. "I'll meet you under Kaufmann's Clock" has been a Pittsburgh tradition for
many years. The store is now Macy's Department Store.
The Party Guests
Although the Stahlbaum family name is taken directly from the E.T.A. Hoffmann tale, Artistic Director
Terrence Orr decided to invite some Pittsburgh guests to the party. Significant families in Pittsburgh
history are represented by Mr. and Mrs. Kaufmann, Mr. and Mrs. Heinz, and Mr. and Mrs. Grandview
(the avenue on the edge of Mt. Washington where one can enjoy the magnificent view of the city.)
Mr. McTavish represents the strong Scottish influence in Pittsburgh as exemplified by Andrew
Carnegie and his contributions to this region, such as the steel industry, Carnegie Mellon University,
and the Carnegie Library system.
Kaufmann’s Christmas Stories for Boys and Girls
Early in the 20th century Kaufmann's Department Store
commissioned a Christmas storybook called Kaufmann’s
Christmas Stories for Boys and Girls. During the planning
period for the Pittsburgh production of The Nutcracker, a PBT
board member, Kears Pollock, made a remarkable discovery.
While browsing at a flea market one day, he came across a
copy of this storybook. While not dated, it is believed to have
been published between 1904-1906. The storybook turned out
to be quite a find, and Mr. Orr incorporated it into several
scenes.Marie reads the book at the beginning of the ballet. It
later appears under the Christmas tree with the other
gifts.Then as the whole room grows, the storybook becomes
larger than life. Drosselmeyer "turns the pages" as the magical
story unfolds. Many of the characters rallying to help the
Nutcracker in the battle with the Rat King and his army literally
come out of the book in the ballet.
The Journey through the Snowy Forest
The hilly topography of western Pennsylvania
has created numerous overlooks and
promontory points where one can see for
miles around. One of the most heralded
spots is the view from Mt. Washington on
what is now Grandview Avenue. Looking
down on the Point and the downtown area,
you can see the three rivers and many of the
bridges that cross them. The backdrop
behind the snow scene is an artistic rendering
of this vista. It is pictured as it might have
looked at the time in which the ballet is set,
around the turn of the 20th century.
By Zack Brown
11PBT’s The Nutcracker
The Choreography
Creating a new production of The Nutcracker led to new and exciting possibilities in the storyline and
choreography.
Marie and the Nephew
In many productions of The Nutcracker, Marie is cast as a child.
Mr. Orr conceived of both her and the Nephew/Prince as
teenagers, which allowed him to cast Company dancers as
believable characters in the roles. Mr. Orr was able to create
more advanced, complex choreography for them than is present
in other productions. In addition, he was able to develop a
romantic relationship between the two.
Alexandra Kochis and Christopher Budzynski, 2011, photo by Rich Sofranko
Drosselmeyer
Drosselmeyer traditionally has a theatrical role of setting the stage for events in the story and creating
visual magic to delight the audience. Mr. Orr also gives him real dance choreography including a pas
de trois (dance for three) with Marie and the Prince.
The Party Scene and Battle
The Party Scene and Battle present choreographic challenges:
a very large cast on stage all at
once covering a wide range of
ages and levels of
choreographic accomplishment
many young children
costumes that may limit
movement
animals and toys whose
choreography should reflect their
characters
Photo by Rich Sofranko, 2010
DIVERTISSEMENTS
A magical sleigh ride through a snow-covered Mt. Washington fairyland transports Marie and the
Prince to the Land of Enchantment. The divertissements that take place there appear in all Nutcracker
productions with different styles. Mr. Orr’s version highlights ethnic and cultural dances.
Spanish, Arabian, Chinese, and Russian
These four divertissements are closely focused on ethnic and national cultures, which are
emphasized in the costumes, dance steps, body movement, and spirit of the dances.
12Spanish – graceful port de bras of classical Spanish
dance, quick turning or snapping of the head at the end of
a musical phrase.
Arabian – exotic weaving of arms and legs;
slithering snake-like partnering and distinct Arabian
angular poses of the head and arms.
Russian – inspired by intimidating Russian Partisan soldiers
from history, known for viciously wielding their scimitars.
They make their entrance clothed in long flowing capes and
after shedding them, perform Cossack-like dance steps
including "Russian" jumps and a low to the floor circling of
one leg under the other—nicknamed “coffee grinds.”
Chinese – traditional Chinese ribbon dance; dancers hold
ribbons on sticks that they twirl and ripple as they perform their
choreography. A Chinese dragon, a symbol of power and
royalty, is carried by six dancers as it undulates overhead. The
dragon’s head was specially ordered from Taiwan in 2002.
Traditionally, the eyes of the dragon are blank. Prior to the first
performance, a ceremony was held in which the dragon’s eyes
were colored with red ink, which is thought to “awaken” the
dragon and bring prosperity to the community.
Artists: Spanish-Danielle Downey, Alejandro Diaz, and Kaori Yanagida; Arabian-Stephen Hadala and Eva Trapp, 2010; Russian-Nicholas
Coppula, Luca Sbrizzi, 2010, Yoshiaki Nakano; Chinese-Eva Trapp, 2009. All photos by Rich Sofranko.
13Shepherdesses and Ringmaster
These two divertissements represent more universal cultural elements.
Shepherdesses with Sheep
In this piece the three shepherdesses perform serious choreography showcasing their
exemplary technique while four younger dancers enact a story of comical mischief.
Ringmaster with Clowns
Circuses are popular worldwide so choosing a ringmaster and clowns provides universal
appeal. Since Mr. Orr wanted to include acrobatics in the ballet, a circus setting gives that
opportunity.
Snow and Waltz of the Flowers
"Snow" and "Waltz of the Flowers" are examples of classic corps de ballet choreography for women,
showing many of the beautiful sequential steps and rippling effects that have developed in ballet from
Petipa through Balanchine and beyond. Using this technique the snowflakes float, flutter and spin as
paper snowflakes waft down from above, creating a forest
fairyland.
In ballet culture, a bouquet of flowers is considered a precious
gift – one of love, friendship, gratitude, honor, appreciation,
and remembrance. Marie dances with the flowers to show her
gratitude to the Sugar Plum Fairy for welcoming her so warmly
to the Land of Enchantment. Audience members who are
familiar with The Nutcracker ballet may note the artistic license
PBT has taken by placing the "Waltz of the Flowers" at the
beginning of the divertissements in Act II instead of at the end.
This choice resulted in a special musical arrangement by
David Briskin, PBT’s Music Director at the time.
Artists: Kaori Yanagida and Amanda
Cochrane and PBT student Erin Young as
Flowers. Photo by Rich Sofranko, 2011
Snow Pas de Deux & Grand Pas de Deux
These two pas de deux are traditionally
expected to be showstoppers. The classic
choreography Mr. Orr created is in keeping with
that expectation. It follows the sweeping
melodies and dramatic climaxes of the music
and orchestration. The Snow Pas de Deux for
the Snow King and Queen is a dramatic duet
which is shared by Marie and the Prince. The
Grand Pas de Deux for the Sugar Plum Fairy
and her Cavalier follows the form of a classic
grand pas de deux: a duet followed by four
variations alternating between male and female
then concluding with an energetic finale or coda
for the pair.
Artists: Julia Erickson and Robert Moore, photo by Rich Sofranko, 2010
14Signature Steps: The Pirouette
The Nutcracker’s choreography is packed with challenging steps and technique. One of the
most familiar ballet movements, the pirouette, is utilized throughout the ballet. It’s a
wonderfully variable—and deceptively difficult—turn and it can take many different forms.
Definition of pirouette
Literally means to "whirl.” A controlled turn on one leg, starting with one or both legs
in plié and rising onto demi-pointe (the ball of the foot) for men or pointe (tips of the toes) for
women. The non-supporting leg can be held in various positions. Turning technique
includes spotting, in which a dancer executes a periodic, rapid rotation of the head that
serves to fix the dancer's gaze on a single spot. Pirouettes can be executed with a single or
multiple rotations. Pirouettes may be performed en dehors (turning away from the supporting
leg) or en dedans (turning toward the supporting leg).
For an excellent illustration of spotting, watch PBT principal dancer Julia Erickson executing
pirouettes as the Sugar Plum Fairy in this dress rehearsal video (starting at 2:15):
http://www.youtube.com/watch?v=Rc2opNscAsQ&feature=relmfu
See Royal Opera House dancers perform pirouettes at Insights Ballet Glossary:
http://www.youtube.com/watch?v=fm-XZCi9skQ
You will see pirouettes throughout The Nutcracker: Here are a few examples to watch for!
Snow Queen and King Pas de Deux
At the end of Act I, the Snow King and Queen dance with the Snowflakes
in the forest. The Snowflakes perform a series of pirouettes
enchaînement (in a “chain” or linked sequence of movements). The mass
of simultaneous pirouettes creates a beautiful, glittery blizzard effect on
stage.
Robert Moore and Julia Erickson, photo by Rich Sofranko, 2011
Arabian Dance
In Act II, Marie and the Prince are entertained by exotic Arabian dancers. Watch for the finger
pirouette in this dance: the male partner twirls and supports the ballerina as she holds onto
one finger for balance. She performs this pirouette en dehors, with her non-supporting leg
turning out, away from the supporting leg.
The Sugar Plum Pas de Deux
Also in Act II, the Sugarplum Fairy and Sugar Plum Cavalier perform a pas de deux to the
ballet’s most famous music, Dance of the Sugar Plum Fairy. Notice the several supported
pirouettes, where the Cavalier balances and twirls his partner. In her variation (a section of
the dance where just the Sugar Plum Fairy dances), she performs a series of dazzling
pirouettes enchainement, a triumphant sequence for only the most expert of ballerinas.
15PBT’s The Nutcracker
The Costumes
Building costumes for a new ballet production involves inspiration, research, and technical decisions
about construction. Zack Brown, Scenic and Costume Designer, and Janet Campbell, PBT's
Costumier, share information about their work on the production.
ZACK BROWN
Design, fabric, and construction are the important elements. Dance clothes are difficult.
Laundering is a major factor because more than one person usually wears each costume, and
physical exertion of dance produces much perspiration. These two factors mean that
costumes must often be washed or cleaned. It also makes them deteriorate, then they have to
be replaced. Re-makes are done all the time.
Artistic Director Terrence Orr gave me parameters that helped focus my ideas. The size of the
budget also has a big influence on decisions. Some of the guidelines that were helpful in my
decisions were:
1. .“Chinese” costumes should be red and yellow. They should also have some representation
of the sun.
2..“Arabian” should include a scarf or veil for the woman. There can be nothing abrasive on
the costume because the man does not wear a shirt, and there is so much body contact
between the dancers that he would get all scratched.
3. The overall look of the production should be like a storybook that comes alive.
These guidelines and others like them helped me choose the overall color palette and styles for
the costumes. Using historical research, my own imagination and talent, conversations with
Terrence Orr, and the inspiration of the music with its rich orchestral colors and sweeping
melodies, I was able to design the vibrant, colorful, sumptuous costumes you will see.
JANET CAMPBELL
Costumes are “built” not made. The reason we say they are “built” is because more is
involved than just cutting out a pattern and sewing seams. Fabrics sometimes must be dyed
to get just the right shade and to make sure that the various fabric colors match or coordinate
perfectly. Sequins and jewels must be sewn on by hand. Sometimes they also have to be
dyed to match the fabric. Many layers of tulle have to be cut to make the tutu skirts. The
edges are not usually straight but scalloped or pointed. These are all cut by hand. All of these
things must be done with the movement of the dancers being the first consideration.
There are 215 costumes for this Nutcracker production. 110 of them were built in Pittsburgh in
PBT’s costume shop. The rest were built at shops in New York and Washington, D.C.
Each costume is often made of many pieces that have to be carefully stored. The following
descriptions are for two of the costumes from Pittsburgh Ballet Theatre's production of The
Nutcracker. They give some insight into how elaborate these costumes can be.
16TOY SOLDIER
White pants have gold stripes down the sides. Suspenders that are not seen have a row of
buttonholes to allow for adjustment on dancers of different heights.
Boot tops are attached to the shoes or to a toe sock that goes inside the shoe.
Elaborate sleeves with hand sewn welts and large white cuffs are attached to a t-shirt that
fastens in the front and is worn under the jacket.
Buttons are sewn on the jacket, but the chains are attached behind the buttons with elastic.
The wide belt attaches on the side.
The hat is held on by a chin strap. Some of the hats are attached to a mask-like face.
SNOWFLAKE
Skirt is separate from the bodice and attached together with button tapes that allow for height
adjustment.
Snowflakes, elaborately decorated with hand sewn sequins of several kinds, are attached to
the bodice.
Four layers of fabric make-up the skirt: white tulle on top, blue sparkle tulle, white with silver
sparkles, white tulle with white flocked hearts.
All the hems of all the tulle layers are cut in points. There are more than 20 snowflake
costumes with a total of 10,580 points, and all of them were cut by hand by one person.
Toy Soldier costume rendering by Zack Brown, PBT Corps de ballet dancer Kumiko Tsuji as a Snowflake, 2004, photo by Randy Choura
Learn More!
More information about designer Zack Brown can be found at the Internet Broadway Database:
http://www.ibdb.com/person.php?id=24714 ; and at the Milwaukee Ballet website:
http://www.milwaukeeballet.org/zack-brown-biography
17Additional Costume renderings by designer Zack Brown, for The
Nutcracker, The Rat King, Arabian Dancer and Spanish Dancer
18PBT’s The Nutcracker
Scenic Design
The complexity of staging a big production such as PBT's The Nutcracker can be an amazing
technical feat! Many things are hidden from view so the audience sees only seamless transitions from
one scene to another, flawless and magical. The massive sets and complicated devices used to
achieve the delightful visions are sometimes anything but seamless and flawless. Learn the secrets of
some of the mechanical and scientific elements of scenery and lighting used to create the
enchantment and wonder of The Nutcracker.
Act I – The Stahlbaum Home
Act I begins with the bustling arrival of party guests on the sidewalk in front of the Stahlbaum
home. The picture of the home is painted on a scrim, which is a large piece of sheer fabric hung
from a pole high above the stage. When the light projects on the scrim from the front, it is opaque
and you see what is on the scrim. However, when an object behind the scrim is lit, the scrim
seems to disappear and that object is seen. That is also what happens when Marie's bedroom
appears.
Act II – The Carousel Canopy
Known affectionately by the stagehands
as "The Squid," this octopus-like
mechanical monster operates in a
manner similar to an umbrella.
Think of how you open an umbrella
to protect yourself from the rain. With
an umbrella one pushes the
mechanism upward, sliding it along
the center pole forcing the spokes to
open the cover. Then, it is pulled
downward along the pole to close it.
Artists: Christopher Rendell-Jackson and Erin Halloran,
2009
Normal Umbrella Inverted Handle
Push upward to open Mechanism attached to center
Push down to open
For the carousel canopy, that basic mechanism is used with the following alterations. To
visualize the operation look at the drawing on page 21 created by Scenic Technologies.
The handle is inverted or turned upside down. (Diagram I – Point A)
The mechanism does not slide up and down the center pole, but rather is attached to it.
(Diagram I – Point B)
19 Now the canopy is controlled with the movement of the handle or pole. As the center
pole is pushed down from above, the rods (Diagram I – Points C and D) are forced
outward and the canopy opens. Compare Points A, B, C, and D in Diagram I to those in
Diagram II.
Diagram III is an overview of the open canopy, showing the umbrella-like spokes.
When the pole is pulled back upward into the flyspace high above the stage, the tendrils
are drawn inward and the cover closes up, returning to the position of Diagram I.
To make the complexities even greater, consider that the open canopy rotates and is wired with
five circuits of lights. Why five circuits? – because at any given moment one light in every group
of five is not lit. It is programmed in sequence so that each light goes off and on in order: 1, 2, 3,
4, 5. The sequence then repeats, creating what is known as "chasing lights." Look on the
diagrams to locate the lights.
20Learn More!
Artistic Director Terrence Orr included a carousel in his production to honor the dozens of carousels
that have entertained Pittsburghers over the last century. Two historic carousels remain, one at
Kennywood Park and one at Idlywild Park. A modern carousel in Oakland at Schenley Plaza replaces
a carousel that used to be near that location.
Read a history of Kennywood’s carousel here: http://nationalcarousel.org/Kennywood.html
Learn about the Schenley Park carousel here: http://www.pittsburghparks.org/pnccarousel
Review • Reflect • Respond
How the Critics Responded
Take a look at reviews from last year’s Nutcracker production:
Orr tweaks the production every season, and gains further variety from the combinations of
his rotating casts. "The Nutcracker" certainly worked its charms….—Mark Kanny, Pittsburgh
Tribune Review
http://triblive.com/x/pittsburghtrib/ae/s_770444.html#axzz26vcclvmN
…this was as engaging a PBT "Nutcracker" as I've seen in some time, with an athleticism
and audience connection that warrants a return visit….Jane Vranish, Pittsburgh Post Gazette
http://www.post-gazette.com/stories/ae/theater-dance/pbts-nutcracker-worth-a-visit-222811/
For Further Thought
In these two articles, dance critics Sarah Kaufman of The Washington Post and Alistair
Macauley of The New York Times offer two very different opinions of The Nutcracker’s place
in American culture and in the world of ballet. Kaufman suggests that the “tyranny” of The
Nutcracker is emblematic of a “dull and risk-averse” culture in ballet. Macaulay says that the
ballet is a “phenomenon that surely says as much about this country as it does about this
work of art.” After reading the two articles, what do you think?
“Breaking Pointe: The Nutcracker takes more than it gives to the world of ballet,” in The Washington
Post, by Sarah Kaufmann, Nov. 22, 2009
http://www.washingtonpost.com/wp-dyn/content/article/2009/11/20/AR2009112000316.html
“The Sugarplum Diet,” in The New York Times, by Alistair Macaulay, Nov. 10, 2010
http://www.nytimes.com/2010/11/14/arts/dance/14nutcracker.html?pagewanted=1&_r=0
21You can also read
