NUTCRACKER! Fact Sheet

CHOREOGRAPHER Matthew Bourne

DANCE COMPANY

New Adventures

DATE OF FIRST PERFORMANCE August 1992

DANCE STYLE Contemporary and Balletic

Exaggerated but realistic use of gestures

Choreographic Style –

is it serious, funny? What was it influenced by? Has the music and dance got a close relationship?

•A reworking of a traditional ballet•Narrative and comic•Influenced by theatre and film•Close relationship between the dance and music

THEMES – FIRST LOVE

In all versions of The Nutcracker Clara falls in love. In Matthew Bourne’s Nutcracker! Clara has a crush on the boy Nutcracker. Some of the orphans make fun of her. When she is given her toy, the Nutcracker soldier, she is distraught when he is locked away and tries to get him out. When the cupboard doors fly open her Nutcracker is now a full-size puppet. He helps the orphans escape and when Clara is left alone he reveals himself to be a human young man.

They travel together to the Frozen Lake but it is here that Princess Sugar wants him for herself. Clara follows them to Sweetieland and is accompanied by her two friends the twins who are now cupids and after many failed attempts Clara and her Nutcracker are finally reunited back in the Orphanage where they escape together.

THEMES – GROWING UP AND ADOLESCENCE

Clara is forced to fend for herself after she has been deserted by Nutcracker, she is befriended by the two cupids who guide her but it is only she who can make things actually happen.

THEMES - ADVENTURE

Clara leaves the safety of the Orphanage and visits two different worlds, the Frozen Lake and Sweetieland. She meets characters she could only dream of.

THEMES - DREAMS

The magical worlds in the Nutcracker have sometimes been portrayed as dreams and sometimes we are led to believe it may well have been a reality. In Matthew Bourne’s Nutcracker! Clara dreams about a world a million miles away from her home at the Orphanage.

STIMULUS - STARTING POINT

The Classical Ballet – Nutcracker

Same Music

Images of a Victorian Childhood

STRUCTURE Two Acts with 9 Episodes

DANCERS

Cast of 24 Dancers

ACCOMPANIMENT Name of Composer- Tchikovsky

Composed in 1892 for original Ivanov Ballet. The music belongs to the Romantic period. The most recognisable pieces of music from Tchaikovsky’s ballet are the Dance of the Sugar Plum Fairy, the Trepak (Russian dance) and The Waltz of the Flowers.

He also uses toy instruments during the Christmas Party scene. Tchaikovsky’s score is extremely engaging and the music tells amazing stories with wonderful melodies.

Sound helps to create the atmosphere of the production. In particular additional sound effects are used when the orphans receive their toys. When Fritz plays with his toy gun additional sound effects are used to create a bigger sound and more dramatic effect.

COSTUME Name of Costume Designer – Anthony Ward

From the grey smocks and shorts of the orphanage to the all-white ice-skating attire, the costumes enhance every moment of the story.

In Sweetieland the costumes are extremely important as this informs the audience of what sweetie each dancer represents. Colourful and over the top to show characters. Cultural influences and literal references to sweets

LIGHTING Name of lighting designer – Howard

Harrison

Theatrical, helps to create atmosphere

Lighting and colour play a significant role in expressing the different worlds, indicating a change of world similar to the use of black and white and colour in The Wizard of Oz.

SET

Name of Set Designer – Anthony Ward

Partially realistic but larger than life and almost cartoon like. Scene 1 is an austere, drab orphanage with iron beds. There is an interval scene on a frozen lake and scene 2, entered through a large mouth, represents Sweetieland – complete with a massive three tier wedding cake.

The designer, Anthony Ward worked with Matthew Bourne to create two contrasting worlds. The first world is Christmas Eve in an Orphanage and the second world is one of dreams and fantasy.

COSTUME CONTINUED... The production opens in a dilapidated Orphanage, it is a

large grey room with an imposing clock that watches every move that the orphans make. It is unwelcoming with cracking plaster on every wall. The misshapen furniture looms over the orphans as they dance and clean the nooks and crannies. When the Nutcracker comes to life the room starts to crack, the walls begin to split open, and the Christmas tree from the earlier celebration grows to an enormous height. The orphans then escape through the cracks to another world.

The next world we enter is a magical frozen lake where the Snowflakes scene from the traditional Nutcracker becomes an ice-skating extravaganza. From here Act Two opens in Sweetieland, where the backdrop is now a glitter-lipped mouth, providing the entrance to Sweetieland itself. The highlight of Act Two is the wedding cake upon which all the characters dance and eat, slurp and lick the cake whilst dancing upon and around each of the three-tiers. It is an entirely fantastical set and one that conjures up images of candy-canes and Christmas sugar delights.

STAGING Proscenium