Inside Next Generation Ballet’s Nutcracker rehearsal
Dance rehearsal smells like feet and moist leotards. There’s nothing elegant about it. When the dancers work hard, improvising corrections on-the-fly from choreographers and ballet mistresses, there is a locker-room funk suspended in the air from sweat-dampened dance clothes, breath and many bodies moving in one studio classroom.
So it was the night we caught up with Next Generation Ballet midway through their Nutcracker rehearsal schedule (which started in September) in room 302 of the Patel Conservatory. We sat in on a first run-through of Act II: Land of the Sweets (you’ll know it as the dance-of-the-sugar-plum-fairy part if you’re not familiar with the ballet) where all levels assembled: the adorable tots performing roles of caterpillars, the beginning and intermediate dancers in corps de ballet roles supporting the advanced dancers in solos (you’re in for a treat with the technical skill of the female NGB dancers) and more challenging small group parts (as the quartet of males performing the knee-punishing “Russian Dance”).
Rehearsals highlight the behind-the-scenes grit and grind that comprise a dancer’s life. In rehearsal, we see the dancers fall out of a triple pirouette, spinning to their shins. They slip on their red ribbons, create slapstick traffic jams exiting the stage and grimace as ballet mistress Ivonne Lemus yells corrections over the music, pushing dancers to extend into a higher diagonal in a leap. Artistic Director Philip Neal, decked out in the official NGB Nutcracker t-shirt, bobbed his head in time, barely blinking as he assessed timing, execution, phrasing, and technique during the deceptively organized chaos.
The excitement of catching a rehearsal at this stage—the moves and sequences are there but not quite mastered to perfection—is witnessing the work it takes to make a dance, with its stories and characters carried on a platform of technical physical challenge, congeal. As patrons of the arts, we’re often privy to the finished product, the flawless execution of art at the point where the dancers make the moves look easy.
Ellie Borick, 16, dances the Snow Queen and Dewdrop. “I love doing these roles. It’s challenging artistically and technically, but I have to get the role right and look beautiful doing it,” she laughs. “I’m excited to see the whole ballet come together. There’s so much color and life. When we finally get to put on our costumes and see each other in costumes, it gets very exciting, and I can’t wait for that.”
Eliot Wallace, 15, performs as one of the Chinese Dancers in the international section. In NGB’s interpretation, they incorporate 7-foot long red ribbons, which they must also twirl in a separate choreography to match their ballet sequences. “At this stage, we are working out not getting the ribbons tangled with each other, to make sure we keep the ribbon moving,” he says. “Right now, we know everything we have to do. But we still have kinks to work out, and we have to add a layer of expression to our performances.”
“Tonight is our first night running through the whole Act II,” says 17-year-old ballerina Amy Wilson. “We’ll be working to make it smoother. Timing is a focus at this point, making sure people know when to go on, how to get off stage.”
The dancers, unflagging in their spirits about fine-tuning an exhausting and demanding full ballet, draw together as a company, often applauding each other for particularly tough sequences (gawd the fouettes and pirouettes), and erupting in amazement at the jaw-dropping tumbling passes by the Acrobats. (We, too, were agape. See video above.)
Luke Guiterrez, 11, takes on several roles throughout the ballet, and you will see him first as Fritz, the little brother, and later as a Soldier and as part of the Polichinelle, the children who scamper around the Mother Matroyshka Dolls, the always delightful life-sized Russian nesting dolls. He is something of a cherished younger cast member and sums up the experience rather well: “When you have a bunch of practices together and work so hard, when the show ends you wish it would keep going.”