DANZSt James Theatre
Wellington
1 November 2025
Choreography: Ty King-Wall, after Marius Petipa and Lev Ivanov
Music: Pyotr Tchaikovsky
Set & Costume Design: Tracy Grant Lord
Lighting Design: Jon Buswell
Projections: POW Studios
Conductor: Hamish McKeich
Orchestra: New Zealand Symphony Orchestra
Reviewed by Mona Williams
Bring all of yourself to this emphatically Kiwi performance of The Nutcracker Ballet; 99% just will not do! The beloved jewel in Ballet's European crown is revitalized, embellished, amplified and even perfumed with Aotearoa's splendour, vitality, beauty, whiff and cultural wealth. This Nutcracker, a cultural tour de force which retains its bare feet on New Zealand's beach, later, soars by helicopter to the lofty land of the snow-clad glaciers, to entertain us with classical choreography, gossamer tutus, a myriad of enchanting lifts and a Koro (Grandfather) who endows the family with his mana. But, to begin.
Awaiting the beginning of the performance, we gaze on a framed 1950s style tourism poster of a panoramic New Zealand vista. Against a background of green lagoons, chartreuse hills and black mountain ranges, are clean, cream beaches, close-ups of a tree fern, pohutukawa blossoms, white manuka flowers, yellow kowhai blooms, green flax shoots and a buzzy bee flying on snow skis. As the music begins, under the baton of Hamish McKeich, the plants sway, the waves lap the shore and the bee swerves and dives rhythmically. The poster is whisked away, and the curtain rises on a family's Christmas morning gathering at the holiday bach.
Mum and Dad have been fishing and snorkeling, returning with a snapper and a crayfish. The family makes rugby tackles; feral kiddies race around gleefully, some play cricket, one adult rests after surfboarding. Everyone enjoys soft drinks, children lick or drop their ice cream cones, a jock injures a muscle and limps. Grown-ups jive to 50s pop music and the large family and friends pile in for fish and chips.
The Tui and Kereru, (in brilliantly executed costumes), fly in from the bush, to observe the vibrant gathering. Dad greets his father-in-law with a hongi, but Koro barely has the chance to recite a karakia before the unaccustomed folks dive into the fish and chips paper. Koro's Christmas present for Clara seems to be a family heirloom; a thick, warm blanket bequeathed from her Maori grandmother. Symbolically Clara is enveloped in her loving Pakeha and Maori heritages. Koro, Taiaroa Royal, is danced with enormous dignity, grace and warmth.
That night Clara feels terror looking at the glowing red eyes of impudent, swaggering, overconfident, invaders descending from the trees. These dancing pests of Aotearoa, possums and stoats, are hilarious. The Nutcracker Officer and his soldiers fight valiantly in their military formations but are overcome. When all seems lost bold Clara saves the day by expertly tossing a jandal to knock out the wilful, cheeky intruders.
That redoubtable, adventurous Aunt Drosselmeyer, danced brilliantly by Kirby Selchow, costumed in over-the-top vivid purples, dramatic necklace and hat, arrives again to 'copter Clara and the handsome Nutcracker prince away to the land of snow. Piloting the buzzy bee, they soar over the stunning splendour of our volcanic regions with their steaming vents, to our glacial ski fields in the Southern Alps. The snowing stage, a crystalline wonderland, becomes a world of swirling, graceful figures in full-length tutus. This aligned with our accustomed memory. The black bodice insert on a stark white, gossamer fabric, echoes the black and white mountains of our alpine landscape. The audience warms to this classical spectacle. Rose Xu and Cadence Barrack catch my eye.
Off they fly, through the clouds, to arrive at the fairytale castle in the Kingdom of Sweets. Built with walls of pink candy floss, we are treated to a Russian dance by the pavlovas; a delectable pas de trois wearing kiwifruit turbans, whipped cream tutus, with strawberry accents on bodices and sleeves. The male pas de trois, in citrus, lime and strawberry wear short shirts; one is decorated with chunks of 'rocky road' confection. Was that hokey pokey ice cream with a swirl of cream and a stick of flake atop? Jennifer Ulloa and Shaun James Kelly were the unique taste of chocolate fish, swift and sweet, light and seductive dancers. The only question I heard from many who loved the production otherwise, was, "What was the brown and pink?" The costume does not give enough of a clue, they felt. (But the programme is informative.)
The Land of Flowers features white manuka, yellow kowhai and pohutukawa blooms, danced with gaiety and panache. Giving a commanding performance as the queen of the pohutukawa blossoms, Kate Kadow as always, was magnetic to watch. The climax of the ballet brings the Sugar Plum Fairy, Mayu Tanigaito, partnered by the Nutcracker Prince Laurynas Vėjalis to the fore. Mayu's touch is delicate, refined and majestic, deeply satisfying to see and instructive to observe her technical finesse. Laurynas is an elegant and attentive partner. I was impressed with his stamina. Having given some many lifts in many scenes, seemingly effortlessly, he delivers a bravura performance in his pas de deux with the Sugar Plum Fairy. Bravo!
As Clara, radiant Catarina Estévez Collins, returns from the world of Fantasy. It has all been a wonderful Kiwi journey, with solid classical dancing by the corps, Clara, the principals and that bundle of mischief, Patrick Bexley as young Fritz. The backdrops project impressive visions of New Zealand. The story is retold with Kiwi wit, down-to-earth details and an acknowledgement of our Maori heritage.
Ryman Healthcare, Manatu Taonga, Pub Charity and all the sponsors, can be justly proud of the 'bejewelled' gift that they have helped bestow on the performing arts in Aotearoa.
Gallery Photos: Stephen A'Court
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