Review: GELSEY KIRKLAND BALLET'S THE NUTCRACKER Sweetens the Holiday Season with Sugar & Spice

'Twas the night before Christmas, and all through the house, magical creatures were stirring... even a mouse! Gelsey Kirkland Ballet's riveting rendition of The Nutcracker delighted at their new space, located on the East River in DUMBO, Brooklyn. A modest theatre gave way to a spectacular production, characterized by lush costumes, awe-inspiring props and polished dancing that frankly, was refreshing in a time when clean, succinct dancing is often severely underrated.

Act I began in a quaint German town at the festive home of the Stahlbaum's, a sophisticated family hosting a Christmas party for all of their friends and family. The scenery and dancers, clad in warm burgundy and sepia hues, were punctuated with dynamic flair, thanks to ebullient choreography filled with a mix of joyful jumps and pedestrian skipping and chassés. And thus, an infectious party atmosphere was born, only to intensify when the mysterious Godfather Drosselmeyer entered. Donning a gorgeous patchwork cape of lustrous fabrics, he brought the color to the party, exciting and delighting all of the children, most especially his niece and nephew, Marie and Fritz Stahlbaum. A man of magic, Drosselmeyer showed off his latest creations come to life: a cheeky pair of dolls, Columbine and Harlequin, capably danced by Nina Yoshida and Erez Milatin, respectfully. Shades of nuance melded together between the mechanical and the graceful to showcase the pair's sweet chemistry and solid technique. And to round out Drosselmeyer's toys? Mortal Time (a brilliant Keisuke Nishkawa) mesmerized with spellbinding jetés that defied gravity. At the height of the act, Drosselmeyer gifted Marie with a nutcracker, which she instantly fell in love with. Enter Fritz, (played by a mischievous Koki Yamaguchi) who seamlessly broke him, and chaos ensued. With a touch of blue ribbon, the nutcracker was restored as the evening drew to a close, mysticism lingering in the air.

In the ebony shade of night, Marie (portrayed by the exquisite Dawn Milatin) searched for her beloved, finding him under the Christmas tree, where the lines between reality and surrealism began to blur and out emerged the evil mice and their Mouse King. Plump and comically frightening, the battle scene was a true highlight of the evening, thanks to gorgeous props, most notably a dramatic chest, where out popped live toy soldiers, armed and ready to fight for Marie and The Nutcracker. With dramatic flourish, Marie flung her shoe at the Mouse King, killing him and avenging her Nutcracker, who transforms into a handsome prince. The pair's pas de deux flowed with an easy grace, transitioning into the snowy Land above the Tree. Though the corps de ballet danced with fluidity, their pointe work was often too loud and distracted from the soft silence of snow - a minor flaw for an otherwise crisp end to Act I.

Act II started Above the Clouds, as audience goers gasped at a frothy, cloud-swept paradise where Marie and her Nutcracker Prince traveled to his Kingdom and were treated to traditional dances from the four corners of the world. Among the highlights: the Chinese Ambassador Dolls that showcased striking flexibility and precise spirals and the delightfully flirtatious Russian Ambassador Dolls, who sealed their dance with a kiss. It was at the end of the act where the audience was able to truly witness the brilliance that is Dawn Milatin. As Marie, she was lovely, but when she evolved into the Princess, she rose above the presence she had created and became something far more powerful and bewitching. Blessed with shapely arched feet and legs, Milatin was the perfect picture of control. Deftly partnered by Johnny Almeida, Milatin was never self-indulgent or over-the-top. She maintained her sharp technique with each centered pirouette and stayed in each moment just long enough, especially through each transition.

A holiday classic reimagined with hints of both traditional and modern elements, this is absolutely a must-see version.

Photo Credit: Travis Magee

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