New 'Nutcracker' Inspired by Chicago World's Fair, is Evolution of Tale & Tradition

“Most “Nutcrackers” are about well-off children who already have a whole lot of toys and are about to get even more. I wanted to explore more complex storytelling — holding on to the Tchaikovsky score, which I love, and all the things that audiences expect to have happen in this ballet... And I wanted the central focus to be on how children — without the usual aristocratic manners, and without much in terms of material things — use their imagination.” (Wheeldon - source)

It's Nutcracker season, and while there have been a few interesting adaptations to challenge the tradition, Chicago now has its own unique variation, thanks to the Joffrey Ballet commissioning the work from Christopher Wheeldon, created out out of the history of the city itself. Unlike the usual story of privileged children getting presents and more, the heroine in this story is the child of a single, working-class, immigrant mother and the setting is the wintery Christmas Eve before the World's Fair in the late 1800's - leaving a lot of room to explore the construction of wonder and magic, as well as cultural diversity.

Wonderfully, setting the production during this historical event, means it's apt and relevant that the use of technology, (such as projection art, mechanical set devices and the multi-media presentation of puppetry alongside ever changing visual wonders and 'tesla lighting'), be incorporated as part of the story telling and not just part of the stagecraft and background. The transformations in the scenes and the characters throughout, echo the changing perspective on the world at the time, thanks to the fantastical inventions and wonders being showcased that seemed beyond imagination, wowing and influencing both workers and visitors of the extraordinary expo.

We like to think this is also indicative of the change happening in this Nutcracker's tale telling, but more on that later. First we'll share more about what the production and story are actually like. (Heads-up: watch for the delightful little nuts!)

Take a look at the trailer:

Here's a little on how the concept developed from Chicago Sun Times' interview with Wheeldon:

Wheeldon and the Joffrey’s artistic director, Ashley Wheater... had both read Erik Larson’s 2003 bestseller, “The Devil in the White City,” and they sensed the Exposition (“minus the serial murderer,” as Wheeldon quipped), was exactly the right magical environment against which the ballet could be set, with the construction of the fair seen though a child’s eye. The fact that the Joffrey’s home stage, the landmark Auditorium Theatre, was completed in 1889, made the whole thing seem even more ideal.  (FTNH: Not to mention that historically this takes place a few days after this ballet of Tchaikovsky's premiered in Russia!) 

But there was a dilemma to solve: The fair ran from May 1 to Oct. 30, 1893, while the story had to unfold on a snowy Christmas eve. “We could either ignore history, or set the story in the post-fair ruins, or set it five months before the fair opens, while it was under construction. We chose the latter. We also found a photograph of what looked like a wooden worker’s shack on the fairgrounds, and that became our touchstone. The fair was built by many immigrant laborers, especially Poles, and we envisioned this shack as the place in which one of the many female sculptors for the fair worked. She is a single mother with a young daughter, Marie, and a son, and the ballet is Marie’s dream version of the fair. We also reimagined two of the ballet’s characters to create an element of romance, with the sculptress more or less taking over what is usually the Sugar Plum Fairy role, while Drosselmeyer, the magician, has been renamed The Great Impresario.” (And as Wheeldon describes him, he is “part Daniel Burnham, the visionary urban designer who planned the fair, along with a bit of P.T. Barnum and Nikolai Tesla, that mad scientist of electricity.”) 

Here's an example from See Chicago Dance, which describes some of the delightful differences that still follow the Nutcracker traditions, but in a new form:

We are in theater mode from the get-go, with a clear class divide of Chicago’s rich and poor at holiday time. Tchaikovsky’s traditional living room party scene music illuminates instead an urban environment where rich and poor intersect, street urchins steal what they can from unsuspecting shoppers, and rats lurk behind every corner (Basil Twist’s whimsically diabolical puppets). The resident Rat-Catcher (a wry Rory Hohenstein, with his own pet rodent perched on his hat) contrasts with The Great Impresario of the Fair (Miguel Angel Blanco), a magical and mysterious counterpart to Hoffman’s original Drosselmeyer.

Wheeldon’s Nutcracker magic reaches a pinnacle of wonder in the transformation of the scrawny pine sapling into a friendly version of the Little Shop of Horrors Monster, completely overwhelming the stage, proscenium, and audience with its massive branches and six-foot-tall pinecones. The Rat Catcher becomes the Rat King, the battle between the rats and toy soldiers unspools with predictable humor, and the Nutcracker Prince’s victory transforms the puppet Nutcracker into the handsome Nutcracker Prince who literally sweeps Marie off her feet and into a snowy wonderland. There they dance a luscious Snow Pas de Deux with elegance and charm, exuding the joy of young love. 

And here's some more nuggets excerpted from the NYTimes:

For the new Joffrey production, Brian Selznick’s story, the sets and costumes by Julian Crouch and Basil Twist’s puppetry turn out to be as crucial as the choreography. I loved learning about Chicago history from their work.There are rats, not the usual “Nutcracker” mice, and a menacing Rat Catcher. 

When the Christmas tree (a poor specimen) grows magically huge in Marie’s dream, it fills the stage, as if the action were occurring within its branches. And though the rats are later played by dancers, they’re most memorable when we see them as puppets, running along upper levels of the scenery and across the floor. As usual in “The Nutcracker,” they’re defeated in a battle with the title character and his toy soldiers (some of them cavalry).

From a wide range of reviews, it seems to be an adaptation that delights audiences and brings a new and different appreciation to what can often seem a fairly light and meaningless story (if you're not familiar with E.T.A. Hoffmann's original, at least). While critic reviews are mostly very positive, a few feel the work has yet to fully mature, although delight is clearly an element that frequents throughout.

The success so far, since opening night at the beginning of December, indicates Wheeldon's production will now be a regular part of the repertoire, and possibly a production that other companies may embrace over time as well.

What we're very interested in, is seeing America begin to "own" it's annual tradition of the Christmas production. Though Nutcracker has its origins in story, music and choreography in other lands, it's the United States that fell in love with the ballet as a nation and made it a yearly tradition across the country (something that spread from San Francisco and New York to the rest of the country after Balanchine's production in the 1960's). This may be the first time, however, that the magic and wonder of the story, has been birthed out of the country in which it is celebrated. It's an evolution of the tale and tradition and we're curious to see if America will love it's own magic as much as it has loved the enchantment that tip-toed in (literally) from other lands... even as it acknowledges the magic of many lands settling in the US, making a new home.

Wheeldon's Nutcracker is playing in Chicago until December 30th this year - and if you're able to go, we'd love to hear what you thought. (More information on tickets and times HERE.)

We'll finish with some delighted audience responses and more glimpses of this 'wonder-filled' production.

Angelina Jolie on Maleficent vs Sleeping Beauty, Fairy Tales & the Tashi Stories

The press events for the launch of Maleficent are heating up and Angelina Jolie and Elle Fanning are currently in the UK promoting their film. Among the new fairy tale fashion statements (I adore Ms. Jolie's birds on branches dress here and check those character-themed shoes below from the French tour!) are a whole lot of Q&A's which, I have to say, they're really brave to do. (I feel for poor Elle getting random questions thrown at her about everything from being a role model to what she thinks of illegal downloading and piracy! Poor kid.)

Today (Friday) they held a large press conference in London to spontaneously (and bravely) answer questions from the press, and it was a delight to hear people asking about real fairy tales and have Ms. Jolie in particular, talk, not only about the film and Sleeping Beauty, but also about fairy tales and the stories she tells her children.
                               
I took a 6(ish) minute video clip from beginning of the full press conference video (which is about half an hour long), since that's the part fairy tale people will be most interested in, but you can find the full interview HERE.

Here's the fairy tale relevant portion of the interviews:

One question asked of Ms. Jolie was what fairy tales or stories she reads to her children and although I wasn't very surprised to hear she likes to make up her own tales, she did say she reads the Tashi stories,  of which there are many volumes and that she loves. (Basically, she's recommending them to parents everywhere.)

The Tashi stories (16 books so far with 2 Tashi adventures in each) are written by Australian authors Anna Fienberg with and her mother Barbara Fienberg, and illustrated by award winning artist Kim Gamble. While these books aren't traditional fairy tales, they are definitely drawn from and inspired by fairy tales from all over the world, centering on a character named Tashi, who comes "from a place far away", and goes on many, many adventures. Tashi is a Tibetan name meaning 'good fortune' or 'auspiciousness'.)

Here's an introduction to Tashi and his world of stories:

A boy named Jack describes his new friend, Tashi, who arrives one day on the back of a swan from a magical country populated with giants, dragons, ghosts and all sorts of other things that go bump in the night. Tashi mesmerizes Jack (and Jack mesmerizes his parents) with tales of his exploits about outwitting a succession of deliciously horrible villains ("I'll pluck out your nose hairs, one by one," a bandit threatens Tashi). Sometimes Tashi tells a story, to Jack; sometimes Jack recounts a Tashi adventure to his parents. In an amusing role reversal, Jack's parents hang breathlessly on their son's every word ("So tell us," Jack's father says. "After Tashi tricked those giants and teased the bandits, how did he meet these ghosts?"), and the dialogue between the storyteller and his audience invisibly tightens the narrative tension. Teasers end each tale ("`So that's the end of the story,' said Jack sadly. `And everyone was safe and happy again.' `Yes,' said Tashi, `that is, until the bandits arrived'.."). (Description from Publishers Weekly) 

   

Tashi began as a conversation with my mother. She was telling me how, when she was a child, she used to tell whoppers. Creative fibs. Tall stories. And the kids would crowd around, dying to hear the latest tale. We began talking about a character like her - a character who told fantastic stories - and over many cups of tea we cooked up Tashi’ - Anna Fienberg 

 

(Tashi) had so many appealing qualities: a rich friendship between boy and friend (or alter ego); a teasing relationship between boy and father; a fresh take on the 'tall tale'; a fearless blend of European and Asian folk story traditions; larger-than-life villains; an irrepressible hero living by his wits (brain not brawn always triumphs); action aplenty; exotic landscapes; and scope for cinematic pictures… (from the Alien Onion children's book editors blog)

Although I haven't read them all (I will soon fix that problem!) the ones I've seen are enchanting, both in the story telling and the illustrations and it's delightful to find characters we're familiar with along the way, whether they be giants that sound familiar or Baba Yaga or even Bluebeard (yes, there's a children's story with Bluebeard in the collection! But don't be concerned. You, and any kids you read to, are in good hands with these authors.)

The official website for the many Tashi books is HERE and you can get them pretty much anywhere in the world (and Amazon is a good place to start as the collection is currently 29% off).

One of Brad Pitt's personal portraits of Angelina Jolie: "wife & mother"