Chicago Tribune: Christopher Wheeldon’s all new production of “The Nutcracker” for the Joffrey Ballet of Chicago is shaping up to be quite a Broadway-style extravaganza. Plans include a new narrative by the acclaimed author Brian Selznick (“The Invention of Hugo Cabret”), a top standard ticket price of $150 and even an out-of-town tryout in Iowa.
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While this article has somewhat sparked my interest, it really doesn't give the reader a lot of information about this new production of the Nutcracker other than that it has a large budget and will be directed by Christopher Wheeldon in a more narrative way. As a reader, I would love to learn more in detail about how they are using their budget. Is this a typical budget for a ballet that they produce or is it substantially bigger. If it is bigger, why so?I would also like to know more about how exactly this performance of the Nutcracker is so different than the ones in the past. I understand that it now kind of sort of has a narrative, but what does this mean? What will the narrative be and how much will it be changing the story of the traditional Nutcracker. Overall, I am excited to hear more about what this production is and I am excited to learn about how they are changing it and how the narrative aspect works, but I wish I new more about what the production was all about.
The great thing about the Nutcracker ballet is that it's a story most people are familiar with, which allows for a lot of flexibility as the show is adapted by different companies and artists. Seattle's Pacific Northwest Ballet has done the nutcracker every year, and it's a huge Seattle tradition to go see it. For as long as I can remember, their ballet had been one designed by Maurice Sendak, writer and illustrator of the Where the Wild Things Are books. His production featured a sultan rather than a sugar plum fairy, and in the second act he presents his gifts to them in the form of a peacock, a group of flowers, a harlequin, and a troop of twirling dancers. His designs were so unique and recognizable that it became a familiar sight. This last year, they reviewed the production and revamped it, with new designs by the artist who did the Olivia the Pig books. The success of these very different productions is a testament to the versatility of the ballet.
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