Choreography by Alexei Ratmansky

Music by Pyotr Ilyich Tchaikovsky

Gillian Murphy as Clara, The Princess and David Hallberg as Nutcracker, The Prince in the Kingdom of the Sweets. Photo: Gene Schiavone.

The Nutcracker

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aBout the WoRking ReheaRsal American Ballet Theatre

Recognized by an act of the United States Congress as America’s National Ballet CompanyTM, American Ballet Theatre (ABT) is a ballet company based in New York City. The company was founded in 1940 with the goal of keeping the best ballets from the past alive, while encouraging new ballets by emerging choreographers. 

Where Did The NuTcrAcker

come From?

Originally a short story by E.T.A. Hoffmann, The Nutcracker was adapted into a ballet in 1892 by choreographer Marius Petipa (pronounced PEH-ti-puh). He made many alterations to transform Hoffmann’s tale into a story told entirely through movement. Pyotr Ilyich Tchaikovsky (chy-KOFF-skee) composed the music. 

The first Nutcracker was performed in Russia. Since that time, many choreographers, like Alexei Ratmansky (ah-LEX-ee rat-MAN-skee), have adapted the story. Choreographers make it their own by creating new movement, usually keeping Tchaikovsky’s score. Some even choose to set the ballet in different time periods, locations, or cultures. 

ho ho ho: here comes

Another Nutcracker

Did you ever wonder why The Nutcracker ballet is performed every year? It is because the themes of gift giving, family gatherings, and dancing snowflakes are a natural connection to the holiday season. 

The snowflakes are both beautiful and dangerous. Watch how they threaten to keep Clara and the Nutcracker from finding their way in the snow.     

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aBout the stoRyIt is Christmas Eve in the kitchen of the Stahlbaums, who are getting ready for a holiday party. Clara and Fritz, the two Stahlbaum children, are watched over by their nanny. 

Act One

The Stahlbaums are welcoming their guests. Drosselmeyer, Clara’s godfather, suddenly appears. He is a toymaker who has brought four life-sized dolls to entertain the children. Drosselmeyer gives Clara a special gift—a Nutcracker doll dressed as a soldier. Fritz jealously snatches the Nutcracker and breaks it. Clara sadly looks on as Drosselmeyer repairs her new toy. The guests leave and the family retires to bed. 

During the night, Clara sneaks back to the parlor to check on her Nutcracker. She becomes frightened when several mice scurry around her and carry the Nutcracker away. Drosselmeyer comes to her aid as she faints. When she recovers, she realizes her house is changing. Everything is growing in size including the Christmas tree. 

A battle begins between the evil Mouse King and the Nutcracker, who has summoned toy soldiers to help him. Clara removes her shoe to help defend the Nutcracker, and throws it at the Mouse King, killing him. As the mice run away, the Nutcracker turns into a handsome prince. 

Snow begins to fall gently, but soon turns into a blizzard. Drosselmeyer brings a sleigh to carry Clara and the Prince out of the cold. 

Act Two

The sleigh arrives in the sunny Land of the Sugar Plum Fairy. The Sugar Plum Fairy is impressed by Clara’s bravery and holds a celebration in her honor featuring dances from around the world. At the end of the festival, Clara fulfills her greatest wish. She watches herself turn into a beautiful princess who dances with her handsome Nutcracker Prince. The magical kingdom fades away, and Clara finds herself alone in her bedroom wondering...was it all a dream?

The multi-headed Mouse King marches into battle.

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Image above: Veronika Part as Clara, The Princess, and Marcelo Gomes as Nutcracker, The Prince. Photo: Gene Schiavone.

David M. Rubenstein Chairman

Michael M. KaiserPresident

Darrell M. AyersVice President, Education

American Ballet Theatre at the Kennedy Center is supported through the generosity of The Lee and Juliet Folger Fund. 

Additional support is provided by Elizabeth and Michael Kojaian. 

Performances for Young Audiences is made possible by the President’s Advisory Committee on the Arts, Capital One Bank, the Carter and Melissa Cafritz Charitable Trust, The Clark Charitable Foundation, Fight for Children, Inc., Mr. James V. Kimsey, The Kirstein Family Foundation, Inc., The Max and Victoria Dreyfus Foundation, Inc., Linda and Tobia Mercuro, The Morris and Gwendolyn Cafritz Foundation, Park Foundation, Inc., Mrs. Irene Pollin, Dr. Deborah Rose and Dr. Jan A. J. Stolwijk, The Theodore H. Barth Foundation, Inc., the U.S. Department of Education, and the Verizon Foundation.

Major support for the Kennedy Center’s educational programs is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.

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Ratmansky’s take on The NuTcracker During the working rehearsal, watch how this Nutcracker differs from other productions in the following ways:

n As shown in the picture below, the young Clara and the Nutcracker imagine themselves as a grown-up Princess and Prince. 

n In the “Waltz of the Flowers,” the ladies represent blossoms and the men are bees.

n Ratmansky adds two new elements: “danger” by making the dancing snowflakes beautiful, but also dangerous, and “humor” in a little white mouse who sneaks around and escapes capture.

n (Left photo) The young Clara and the Nutcracker have “doubles,” or adult versions of themselves, that they watch during parts of the production as if they are looking into their future.

n The final romantic duet, or pas de deux, (PAH-d’-DUEH), is usually danced between the Sugar Plum Fairy and her male partner (Cavalier). Ratmansky partners the adult versions of Clara and the Nutcracker so that the finale of the ballet can be an expression of love, hope, and happiness.

To learn more, go online to “Cracking Open The Nutcracker” at http://artsedge.kennedy-center.org/students/features/understanding-art/cracking-open-the-nutcracker.aspx