I first saw the Nutcracker performed one wintry evening in late December at the majestic and historical Covent Garden in London when I was four years old. It was a magical night. I remember being entranced by the ballerinas who circulated within the crowd, mesmerized by the dresses of the other little princesses. Delighted by the magnificent building, steeped in history, red velvet everywhere.
Years later when I stumbled across a flyer for the San Francisco Ballets Nutcracker my heart skipped a beat. I was aware that the first complete performance in America had been performed in 1944 by San Francisco Ballet, but could the present day ballet retain that magic I remembered from my youth?
I shouldn’t have been concerned. From the moment Martin West walked into the orchestra pit and the first few notes sounded, the magic, began to flow up and onto the stage where as the curtains rose, the scene of old appeared and the Nutcracker began.
Michael Yeargan’s scenery, set the production during the 1915 World’s Fair and the timeless charm of a time gone by was recaptured in moments…
(Story spoiler) For those unfamiliar with the story, a young girl called Clara (Nicole Finkien) is given a nutcracker soldier toy from her Grandfather Drosselyer (played with gusto by Val Caniparoli on the first night). In the middle of the night Clara creeps down stairs and as the clock strikes the witching hour the Christmas tree begins to grow and Clara finds herself in the miniature world of dangerous mice and toy soldiers. A fight ensues between mice and toy soldiers. The Nutcracker Prince (Gennadi Nedvision) forward to protect Clara from the Mice King but is wounded. Suddenly it is up to Clara to try to save the day… But can she?
Every production I have seen, (and I have been a Nutcracker ballet attendee for the past 23 years across continents) has had its own character, whether it was the London version where the party guests were sweets and had mobiles or the classic Victorian version where the soft velvety fabrics seemed to make the stage move like a giant cat. As the curtains rose on opening night the audience was treated to old black and white postcards of the city and then eventually a conservatory of flowers which could have quite easily been the cities own.
The music for me, is Christmas. The Dance of the Snowflakes in particular, when paired with a blizzard far heavier then seen in recent years transported the audience into a world of white which swirled and curled as if controlled by Drosselmeyers own hand himself. The dresses of the Snowflakes were beautiful The translucent and light nature of the fabric of their dresses gave the impression that they floated rather then danced across the stage.

Simple, yet magnificent choices of scenery gave place but did not distract from the dancers. The Christmas tree grew tall, lush, fast and thick and the scene changes were so smooth they were non existent courtesy of Michael Yargans seamless attention to detail. Costume design by Martin Pakledinaz did not disappoint. Of particular note must be the costumes of the Sugar Plum Fairy (exceptionally played by France Chung) and her Waltzing Flowers. The Waltzing Flowers spiraled across the stage, their skirts spinning…

Performances through out were of superb quality with the Snow King and Snow Queen gaining wonderful responses from an entranced audience. Personal favorites were Elana Altman, with Anthony Spaulding and Quinn Wharton. The slow measured movements made the trio a sight to be seen as eyes became transfixed to Ms Altmans poise and control.

Children are a vital part of the Nutcracker magic but often, parents sitting on the upper balcony do forget that their elaborate descriptions of what is happening on the stage can be heard by most of the Orchestra seating, so probably the dancers too. (Yes, you were a mature male seated with your daughter on the right hand side with glasses. Great descriptions but we didn’t all need to hear them). While the only other child exception was the infants who cried until taken out. If they are young enough to breast feed they may be slightly premature for Tchaikovsky.

The often unnoticed volunteer ushers serve a pivotal role in organizing parents and children alike. However as most Nutcracker regulars realize, it is not the problem of children which often affects performances. On the whole it is the adult attendees who don’t realize that performances start on time (late admissions aren’t even considered at Covent Garden) and that food and drink are not permitted in the auditorium.

The San Francisco’s Ballets efforts to promote and gain interest prior to the season by interactive online pamphlets, and walks around the city have his year been spectacular. It has been wonderful to see how social media can encourage audience participation in the story and I look forward to seeing how they develop their winning concepts of online marketing with real life experiences such as photographs with the ballerinas and secret children’s sweet grottos downstairs next year. Next year? Well, Christmas isn’t Christmas without the magic of The Nutcracker is it?

For the best tickets phone the box office direct, but be quick. Time isrunningshort.

Where: War Memorial Opera House, 301 Van Ness Ave., San Francisco

When: 2pm and 7 p.m. Tuesdays-Sundays, except 11 a.m. and 4 p.m. Dec. 24; no performance Christmas Day, closes Dec. 27

Tickets: $22 to $275

Contact: (415) 865-2000, www.sfballet.org/nutcracker