For many holiday seasons, Minnesota Dance Theatre has performed its mainstay "Loyce Houlton's Nutcracker Fantasy" at the State Theatre in downtown Minneapolis. But now the half-century-old classic has a new home at the Cowles Center, just a few blocks away, and the performance experience is not only different but in many ways better, thanks to the intimate quality of the new venue.
Staged by Lise Houlton, the production opens with the swirling energy of a Christmas Eve party and it's easy to feel drawn into the festivities because of their close proximity to the audience. You can practically rub the furry potbellies of the mice played by a cast of scurrying kids.
As the story progresses through young Marie's dream journey into the Land of Sweets courtesy of toymaker Drosselmayer, each scene offers a chance to appreciate the dancing from a closer vantage point. The only disappointment is the current lack of a working orchestra pit at the Cowles; unlike in previous years the Tchaikovsky score is pre-recorded.
Saturday afternoon's program featured several winning performances. As Marie, Juliet Prine allowed her broad smile and joyful movement to reveal an authentic love of adventure while Kevin Iverson imbued his Drosselmayer with a high-flying sense of magic and mystery.
Katie Johnson delivered a particularly snappy moment in the Spanish dance duet. Although Christina Marchiori, as the Queen of the Snows, took a hard tumble off her pointe shoes, she recovered beautifully, showing mental toughness. The dynamic Russian dance trio of Steve Schroeder, Dylan Wald and an elastic-acrobatic Serena Lu earned cheers.
The main event was the duet for the Sugarplum Fairy and her Cavalier. On Saturday, Raina Gilliland was partnered with Charles Askegard, a Minneapolis native and former MDT student who recently retired from New York City Ballet and leads his own troupe, Ballet Next.
Often a compelling dancer, Gilliland revealed a new level of maturity. Her footwork and pirouettes were as crisp as a midwinter's subzero night. Askegard supported Gilliland generously, giving her space to own the stage. Together they generated an organic flow and tranquil beauty. In his own solo moments, Askegard was buoyant, especially as he carved a virtuosic circle of leaps and turns.
Tickets are going quickly, so reserve ahead for the coming week's performances. Each show features a different cast.
