Ballet Arkansas' The Nutcracker is a frothy confection that caters to human zest for habit or, more kindly, tradition. Held at the intimate (1,200 seat) Maumelle Performing Arts Center, the production utilizes dancers from throughout the state for a combined cast and crew of over 300.
The first half of The Nutcracker is all story (a family hosts a Christmas party, an enigmatic godfather gives a girl a Nutcracker doll, the girl falls asleep and in her dreams, the Nutcracker becomes a living prince); the second half is all dancing (pat portrayals of "exotic" cultures that straddle the line between kitschy and offensive).
Under the guidance of artistic director Michael Bearden, Ballet Arkansas handles the former with theatricality, comedy and pint-size dancers, which distracts from the lack of technical virtuosity. The chaos is endearing at points and at other points, it simply feels crowded -- likely an issue that will be remedied when The Nutcracker returns to the larger stage at Robinson Music Hall in 2016.
Clara (Sophie Skrivanos) and her prince's (Toby Lewellen) adventures begin in the Land of Snow, where confetti drifts and Deanna Karlheim languidly unfurls her limbs as the Snow Queen.
Next they journey to the Land of Sweets, where they encounter billowing clouds (the most impressive special effect of the night) and a winsome cadre of tiny cherubs.
In the sinewy Arabian dance, Lynsie Ogden is mesmerizing as the female soloist -- all hyper-extended legs, and sultry, wavering arms. She and guest artist Brandon Ramey (Ballet Memphis) radiate chemistry.
The Russian dance is as boisterous and campy as a Broadway musical. Lauren Bodenheimer stands out for her precision as the Marizpan soloist, accompanied by one of the most recognized pieces from Peter Ilich Tchaikovsky's 1892 score, performed with panache by the Arkansas Symphony Orchestra. The corps de ballet shine in the Waltz of Flowers, and Virginia Pilgrim Ramey (Ballet Memphis) is spot-on as the Dew-Drop Fairy.
Amanda Sewell is nearly flawless as the Sugar Plum Fairy -- controlled, light and lyrical. Tony Sewer partners her well as the Cavalier, making complicated lifts appear effortless.
The godfather, Herr Drosselmeyer, is present throughout both acts, a unique (and perhaps distracting) aspect of Ballet Arkansas' choreography. And nearly every number had a few bobbles, while dancer synchronicity remained an issue throughout. But overall, Ballet Arkansas' opening night performance of the most produced ballet in the world was as saccharine and delicious as expected. The company opts for accessible choices, but there are moments when it all comes together.
Additional performances of The Nutcracker, at 2 and 7:30 p.m. today and 2 p.m. Sunday, are sold out.
Metro on 12/12/2015