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Kansas City Ballet's The Nutcracker is a timeless, classic production and has become a well-deserved local Christmas tradition. For the most part, the production remains the same from year to year - Tchaikovsky's score and Todd Bolender's choreography - even the scenery and costumes haven't changed much in the past several years. What makes each performance unique and exciting - or not - is the performer's interpretations. They lend their talent and personality to magically transform the steps or notes into a remarkable experience. And throughout this year's production, new and veteran dancers succeeded in making the beloved story a necessary staple to holiday events.

Traditionally, the production runs throughout the month of December, but prior bookings at the Music Hall pushed the KC Ballet's schedule back a couple of weeks. For Nutcracker fans, the wait proved to be worth it when opening night finally came around last Wednesday, December 16.

The evening began with a special appearance from Julia Irene Kauffman, chairperson and CEO of the Muriel McBrien Kauffman Foundation - and a major donor to the KC Ballet. Kauffman conducted the Kansas City Symphony in the overture to the Nutcracker Suite. And her granddaughter, Brittany Muriel-Marion LaPointe, played the coveted role of Clara in the performance.

The story of The Nutcracker revolves around Clara's family Christmas. She is given a beautiful Nutcracker as a gift, (her brother subsequently breaks it), falls asleep and dreams that her Nutcracker becomes a prince. Act One is more theatrical-based and tends to be a favorite for children, (perhaps because of the opulent Christmas party replete with presents) while true dance lovers prefer the technical diversity in Act Two.

The first act Christmas party scene was fair, but lacked some excitement from one of the main characters, the grand Herr Drosslemeyer played by Geoffrey Kropp. Meant to be a quirky and mysterious role, Kropp lacked the magic and personality to bring the character to life, although he had the physical stance for the part, and musically was on cue for all of the tricks. It is this reviewer's hope that since this was Kropp's first performance playing Drosselmeyer he will continue to perfect the role.

Brittany Muriel-Marion LaPointe, on the other hand, gave a sincere and believable portrayal of Clara. She executed each step and movement with grace and purpose, finding a terrific balance between dancing and acting.

The midnight battle scene between the Mouse King and the Nutcracker was full of life and captured the attention of every child in the audience. The young soldiers danced dearly, while the mice militia, led by Mouse King Matthew Donnell, provided comical relief.

The "Land of Snow"  is the next stop for Clara and her Nutcracker (now a Prince) on their magical journey. Angelina Sansone as the Snow Queen came across tentative in the partnering sections with Juan Pablo Trujillo, but danced favorably and stood out in her solos amongst the corps. The couple looked majestic executing their composed choreography in comparison to the corps' flurrying, fleeting movements. The interweaving and cannons of the Snowflakes were mesmerizing, and they succeeded at matching each other's lines and maintaining energy throughout the section.

The second act got off to a great start as the Sugar Plum Fairy and her Cavalier (Kimberly Cowen and Luke Luzicka) entered the stage surrounded by the angels. Cowen breathtakingly performed the Sugar Plum's variation, doing everything the quintessential ballerina should from quick foot movement and sustained balances to an unrivalled stage presence. The regal couple welcomed Clara and her Prince (Durante Verzola) to the "Kingdom of the Sweets" and invited the Prince to reenact the outcome of the battle, which Verzola did perfectly.

As a reward for his victory against the Mouse King, the Nutcracker Prince is given a series of dances...

The Arabian dancers, Nadia Iozzo and Michael Eaton, stood out for their exotic appearance and impressive control. Their fluidity and chemistry was entrancing and their balance right on until the very last lift - which we will blame on opening night jitters.

Marty Davis, the Russian lead, gave a solid performance from beginning to end with lots of energy and a smile on his face. In the Dance of the Reed Pipes, Laura Wolfe showed off her personality by flirting with the tempo and sequence of steps. Her hops en pointe differed from most dancers who either stay in the same position or eliminate them altogether. Wolfe, along with Deanna Doyle, who danced the role of Dew Drop, were both powerhouses and light on their feet, but could work a bit on elongating their lines.

The Waltz of the Flowers corps demonstrated unison in its musicality and formations, although were slightly clunky during transitions. One of the most visually pleasing parts of this dance was at the end of the approximate seven-minute variation when the corps Flowers are turning around themselves as Dew Drop, also turning, came down the middle of the stage. The alternating colors and full skirts created a beautiful picture similar to flower petals blowing in the wind.

Act Two ends with the Grand Pas de Deux. Cowen and Luzicka shined in the spotlight, making the difficult partnering sections appear effortless. It was unmistakable how experienced both dancers are, using every part of their body to execute a step, joyously dancing for themselves as much as the audience. Neither lacked energy in the in-between steps, continuing to command attention and remain in character.

Opening night is never without a few stumbles here and there - from the children to the professional dancers, and even the musicians. The transformation from Nutcracker to Prince in Act One was, unfortunately, noticeable and the sleigh taking Clara and the Prince away from the Kingdom of the Sweets failed to fly before the curtain closed. The reassuring thing about a first performance is that it gives the artists something to improve upon. Despite these minor stumbles, the 2009 Kansas City Ballet production gave an admirable performance and invested Christmas spirit and cheer throughout the theater.


REVIEW:
Kansas City Ballet with the Kansas City Symphony
The Nutcracker
Runs December 16 - 27
Reviewed Wednesday, December 16, 2009
Music Hall
301 W 13^th Street, Downtown Kansas City
For tickets call 816-931-2232 or online at www.kcballet.org

By Laura Vernaci

Dance Contributor

Laura Vernaci is a Kansas City native who has always been passionate about the arts, particularly dance. She began dance lessons at the young age of five and hasn't stopped since. She trained at the Kansas City Ballet where she became a serious dancer and learned about a professional company. 

She attended Butler University in Indianapolis, IN where she majored in dance. She transferred to Truman State University in Kirksville, MO in 2006 and received a degree in Journalism in May 2008.  Laura spent the 2008-2009 in Duluth, MN dancing professionally for the Minnesota Ballet. She performed in productions such as, "The Nutcracker," "Cinderella" and "Coppelia" as well as world premier ballets created on the company.

She recently moved back to Kansas City and is excited to combine her experience in writing with her passion for dance. In addition to performing and writing, Laura also enjoys teaching dance and choreographing.