Madison Ballet’s ‘Nutcracker’: Cheese hats and flying sleighs, oh my!

The Wisconsin Chamber Orchestra concludes tuning and strikes up the opening overture. The curtain rises on a familiar Christmas scene. “Nutcracker” enchantment is illuminated through partially transparent painted scrim, enabled by dozens of dedicated and talented people working on and off stage to create winter inspiration. Tchaikovsky’s iconic score, performed live under the direction of Maestro Andrew Sewell, mesmerises, with the odd exception of synthesized keyboard replacing children’s voices in key moments.

Nutcracker season has begun! These dance artists will be tirelessly working at the Overture Center for the Arts until Dec. 22 using quick changes, illusionary wardrobes, a growing tree, a flying sleigh and massive amounts of craft to bring the holiday inspiration that so inspires Madison Ballet artistic director Ja’ Malik. Former artistic director Sara Stewart Schumann’s 2021 choreography is rekindled with additional sections by Madison Ballet leadership and Classical Chinese dance master Yaqi Wu.

A simple decision to use global dress-wear for party guest costumes in Act I creates a surprisingly wonderful throughline for the entire ballet. Guests arrive to the party in saris, kilts, Spanish ruffles, lederhosen, Tang suits and sherwani with turbans. They dance and feast with their hosts, the Stahlbaum family, including main character Clara. Whisked away into Clara’s dreamy “Land of the Sweets,” those family friends from around the world remix with the fanciful gifts and treats enjoyed at the party. The simple, far-reaching effect of this costuming decision addresses some niggling cultural appropriation concerns and simultaneously brings foreshadowing and symmetry to a wandering dreamscape plot. 

Clara’s brother, Fritz, is a remarkably charming and loveable rapscallion. Clara’s parents, who in the “Land of the Sweets” become Sugar Plum and Cavalier, are relatable and real, and in the case of Shannon Quirk, seamlessly mesmerizing in pantomimed storytelling. Benjamin Shepard dances a groovy, sexy Rat King — a flamboyant and humorous villain worthy of the Princess Bride. Each rodent minion is vibrantly embodied, from the big rat who beats its tail after losing a pillow fight to the cheese-hat laden mouslings scurrying across the stage. Those masked, furry-costumed dancers well deserve the audience’s applause and giggles. Madison Ballet Academy students of all ages shine in their roles.

Because the dancers are skillfully light on their feet — the clack of pointe shoes on the floor and landings from spectacular jumps are impressively quiet — the fight scene between Nutcracker Prince Eric Stith and Rat King momentarily breaks the illusion with heavy clunking of wooden swords. In a scene full of witty humor and skillful staging, lackluster fight choreography is emphasized by each blunt sword strike. 

Act II features many delights, with details like a notably beautiful Arabian bow. Madison Ballet’s young dancers and new leadership are impressively skilled. But a beloved mentor once told me ”a dancer lives in the transitions,” and between jaw dropping feats, the greenness shows. Madison Ballet’s current incarnation will be something to watch as it gains stride, especially following the example of senior members like Sarah Martin, Alex Vrba and Shannon Quirk.