In the news:
PNB to shelve its beloved version of ‘Nutcracker’ in 2015
The 2014 holiday staging of the Maurice Sendak/Kent Stowell “Nutcracker” will be its last, PNB announced Wednesday. It will be replaced in 2015 with a new version using George Balanchine’s 1954 choreography and new costumes and sets by Ian Falconer.
Seattle Times arts writer
PNB’s current ‘Nutcracker’
Source: E.T.A. Hoffman’s “The Nutcracker and the Mouse King” (1816)
Composer: Peter Ilyich Tchaikovsky (Op. 71, 1891-1892)
Designer: Maurice Sendak (“Where the Wild Things Are,” “In the Night Kitchen”)
Choreographer: Kent Stowell
First performance: Dec. 13, 1983, at Seattle Center Opera House (now McCaw Hall)
Number of times performed: About 1,100
Number of children in the cast: 85 per show
Number of costumes: 200-plus
Number of pointe shoes worn out per “Nutcracker” season: About 500
Height of Christmas tree: Constructed by Boeing engineers in a flight hangar, this set piece “grows” from 14 to 28 feet in height during each show
Spinoffs: Two: A 1984 New York Times best-selling book, “Nutcracker,” illustrated by Maurice Sendak; and a feature-length film version in 1986
Source: Pacific Northwest Ballet
Pacific Northwest Ballet, 2014-2015
The final bow for the Maurice Sendak/Kent Stowell version of “Nutcracker” will take place Nov. 28-Dec. 28, 2014. Tickets are currently on sale to PNB subscribers and will be available to the general public starting May 19. Single-ticket sales for the season (not including “Nutcracker”) begin July 21. Ticket info: 206-441-2424 or www.pnb.org.
Highlights of the 2014-2015 season:
Sept. 26-Oct. 5: George Balanchine’s “Jewels”
Nov. 7-16: David Dawson’s “A Million Kisses to My Skin,” Nacho Duato’s “Rassemblement,” and PNB premieres from Annabelle Lopez Ochoa and Justin Peck
Jan. 30-Feb. 8, 2015: Alexei Ratmansky’s “Don Quixote”
March 13-22, 2015: Three works by contemporary choreographer William Forsythe
April 10-19, 2015: Jean-Christophe Maillot’s “Roméo et Juliette”
May 29- June 7, 2015: Ratmansky’s “Concerto DSCH,” Jose Limón’s “The Moor’s Pavane” and Kent Stowell’s “Carmina Burana”
Pacific Northwest Ballet’s “Nutcracker,” with lavish sets and costumes by Maurice Sendak and choreography by Kent Stowell, has been a tradition for Seattle-area families since 1983. Thousands of little girls in party dresses and their brothers in holiday sweaters have gazed up in awe at the fanciful, colorful world on PNB’s stage: the enormous grandfather clock, the massive Mouse King’s tail, the mournful peacock, the dancing ocean waves as a heroine is whisked by boat to a magical kingdom.
But audiences will bid this production bon voyage next season: The 2014 holiday staging of the Sendak/Stowell “Nutcracker” will be its last, PNB announced Wednesday. It will be replaced in 2015 with a new version using George Balanchine’s 1954 choreography and new costumes and sets by Ian Falconer (best known for the “Olivia” series of children’s books).
“We all have a great deal of love and attachment to the (‘Nutcracker’) we have,” PNB artistic director Peter Boal said earlier this week, calling the impact of the Sendak/Stowell version “tremendous.”
The decision to end its run, he said, came from “looking at ticket sales over the last decade, and looking at the age of the current production, and realizing it was probably time to make a change.”
Sales for “Nutcracker,” he said, have been lagging since the recession. Since hitting an all-time high of $6.2 million in 2007, ticket revenue has fluctuated, dropping as low as $4.7 million in 2011 and rebounding to $5.4 million in 2013. The company’s research also showed, Boal said, that typically 67 percent of “Nutcracker” audiences didn’t attend the previous year.
Boal, a New York City Ballet (NYCB) veteran who trained at the company’s School of American Ballet, performed in “George Balanchine’s The Nutcracker” (now its official title) for 30 years — and, as a child, worked directly with Balanchine to learn the role of the young Prince. It’s been a dream of his to bring it to PNB, which has a long connection with Balanchine — “such a reassuring and comforting name,” he said, to PNB audiences.
Widely considered the 20th century’s greatest ballet choreographer, the Russian-born Balanchine co-founded NYCB in 1948 and created dozens of dances for the company before his death in 1983. “The Nutcracker” was his first full-length ballet for the troupe, premiering in 1954, and was credited with helping make the ballet (then little-performed) an annual Christmas tradition around the country. A film version of it, starring a young Macaulay Culkin, was released in theaters in 1993.
Originally presented in 1890s Russia, with a masterful score by Tchaikovsky, “The Nutcracker” is the story of a little girl who receives a nutcracker doll as a gift on Christmas Eve and then dreams of a journey to a magical land with her Nutcracker Prince. Balanchine’s narrative differs from Stowell’s primarily in that Clara and her prince are played by children throughout. In PNB’s production, Clara is played in Act 2 by an adult dancer; Balanchine’s grand pas de deux is danced by the Sugar Plum Fairy (a character not present in Stowell’s version) and her cavalier.
Like the familiar PNB production, NYCB’s uses a large number of children from the company school. Balanchine, noted Boal, “does quite formal choreography for children — they’re really asked to dance adult ballet steps.”
To succeed Sendak’s colorful designs, which have happily haunted local children’s dreams for three decades, Boal turned to another beloved author.
“As much as we target every member of the audience, it’s the children that are first and foremost,” Boal said, “Bringing an artist in that’s already part of the bedtime stories and the first books trotted off to school, I think, is really central to making a ‘Nutcracker’ succeed.” Falconer is no stranger to ballet, having designed several works for NYCB (including an ingenious design for Christopher Wheeldon’s “Variations Sérieuses,” seen at PNB in 2011); he’s also created sets and costumes for several opera productions.
In early discussions, Boal said, he and Falconer have decided to move the setting to this country (normally “Nutcracker” takes place in Germany). Falconer has “done first run” at all the sets and a handful of costumes; more design work will be completed this spring.
Audiences can say goodbye to the Sendak/Stowell “Nutcracker” in the 2014 holiday season (see box for ticket information). Boal said it’s “not out of the question” that it might be presented again someday, but for now the production’s vast sets and 200-plus costumes are to be put in storage after its final bow.
Though Boal is excited about bringing Balanchine and Falconer’s “Nutcracker” vision to Seattle, he’s anxious about replacing a much-loved production. “I approached this with apprehension, with caution, with research,” he said. “When you take something that has a 31-year tradition that’s been hugely successful, you have to be very careful. You should be nervous — if you’re not, you’re reckless.”
But with the unanimous backing of the PNB board and vigorous new fundraising (boosted, Boal said, by a million-dollar gift from the Dan and Pam Baty family, who “believe in great Seattle traditions”), the new “Nutcracker” will be a reality in 2015. “This is something that I believe strongly in, and we’re going to make a go of it,” said Boal. “When the curtain goes up on opening night, it’s going to be spectacular.”
Moira Macdonald: 206-464-2725 or email@example.com