Still Nuts About The Nutcracker: Celebrating 25 Years of a Holiday Tradition at the National Ballet of Canada

Heather Ogden and Christopher Gerty in The Nutcracker. (Photo: Karolina Kuras. Courtesy of The National Ballet of Canada)

As the curtain rose on the 25th anniversary of James Kudelka’s Nutcracker at the Four Seasons Centre, you couldn’t help but feel a frisson of excitement. This wasn’t just another night at the ballet; it was a celebration of a production that has become as much a part of the holiday season as last-minute shopping and the towering Christmas tree illuminating Nathan Phillips Square.

From the moment Genevieve Penn Nabity took the stage as the Snow Queen, it was clear the Dec. 6 opening performance would be anything but frosty. Supported by Larkin Miller and Shaakir Muhammad in the first act pas de trios, Penn Nabity displayed a crystalline technique and regal bearing that transformed the stage into a winter wonderland that even the most jaded spectator would find enchanting.

Ben Rudisin’s turn as Uncle Nikolai, the magician, set the tone for the lively barn party that opened the ballet. With a twinkle in his eye and a spring in his step, Rudisin conjured up the perfect blend of mystery and mirth, leaving the audience wondering what marvels he might produce next from his voluminous silk sleeve.

A reimagining of Marius Petipa’s 19th-century classic—itself a dance adaptation of E.T.A. Hoffmann’s 1816 tale—Kudelka’s version departs from the original story of a young girl’s magical Christmas Eve adventure, instead throwing squabbling siblings Marie and Misha into the festive fray. On opening night, Héloïse Haibe-Kains and Eamon Currie from Canada’s National Ballet School unleashed a whirlwind of energy on stage. Their boisterous performances and total immersion in the sibling rivalry scenario sparked believability and drew the audience into their world. These spirited young dancers will tag-team with other NBS students throughout the run, keeping the holiday magic alive until the final curtain on December 31.

Christopher Gerty brought unexpected depth to the dual role of Peter and the Nutcracker Prince. As Peter, his nuanced performance in Act One established a genuine bond with the children and their nurse Baba (Stephanie Hutchison). Gerty’s portrayal of Peter’s compassion, particularly in his gentle handling of a captured rat, set the stage for the magical transformation to come. When Peter became the Nutcracker Prince, Gerty’s long lines and engaging presence painted the picture of a dashing hero. The role demanded every ounce of his considerable talent.

Tasked with bringing Kudelka’s vision to life, Gerty navigated a choreographic minefield of frenetic pacing and intricate steps that would challenge even the most skilled dancers. As the night progressed, fatigue visibly set in, yet Gerty’s determination remained as unyielding as his wooden alter ego. His performance showcased both the grit behind ballet’s glitter and his potential as a rising star.

Ben Rudisin with Artists of the Ballet in The Nutcracker. (Photo: Karolina Kuras. Courtesy of The National Ballet of Canada)

As the story unfolded and we journeyed through the Land of Snow into the Kingdom of Sweets, Kudelka’s choreographic imagination continued to shine, particularly in the Act Two divertissements. In the Waltz of the Flowers segment, Hannah Galway’s Bee buzzed with kinetic energy. Her mesmerizing performance was a study in contrasts: sharp, precise shoulder isolations juxtaposed against fluid, full-bodied turns. Galway’s masterful control of dynamics allowed her to shift seamlessly between staccato vibrations and languid, honey-slow extensions. Most impressive were her lightning-quick directional changes, executed with a crisp attack that belied the complexity of the choreography. Galway imbued her brief solo with such clarity and intention that it became a highlight of the act, proving Kudelka’s gift for creating memorable moments even in supporting roles.

Other animal characters brought their own brand of magic to the stage. Noah Parets delivered a deliciously cunning performance as the Fox, his movements sharp and predatory as he pursued Brenna Flaherty’s high-kicking, leaping Sheep. Their pas de deux was a thrilling chase sequence that had us holding our collective breath - less pastoral idyll, more nature documentary set to Tchaikovsky.

Then came the night’s crown jewel: Heather Ogden as the Sugar Plum Fairy, emerging from Santo Loquasto’s golden Fabergé egg—a showstopper for 25 years running. Ogden brought fresh lustre to the iconic role, mastering the demanding choreography with apparent ease. Her performance was a masterful blend of precision and abandon; her pirouettes and arabesques elegant assertions of balletic prowess. Throughout, she embodied the quintessential classical dance figure—sparkling, assured and musical. By the final curtain, her tiara seemed less a costume piece and more a well-earned crown, bestowed by an audience left utterly spellbound.

Speaking of Loquasto’s designs, what seemed exorbitant in 1995 – $2 million for sets and costumes – has clearly proven to be a wise investment. The sumptuous visuals have stood the test of time, their opulence amortized over a quarter century of delighted squeals and spontaneous bursts of applause. From dancing bears on roller blades to courtiers adorned in Russian red and gold, Loquasto’s creations continue to transport audiences to a magical realm of Czarist splendour.

As the final notes of Tchaikovsky’s score faded away, one thing was clear: after a quarter century this Nutcracker remains as fresh as newly fallen snow. It’s a testament to Kudelka’s fabulist vision and the National Ballet of Canada’s enduring commitment to wrapping the season in resplendent grandeur that this production continues to captivate audiences year after year.

– Deirdre Kelly is a Toronto-based journalist, author and internationally recognized dance critic and style writer on staff at The Globe and Mail newspaper from 1985 to 2017. She writes for Dance Magazine in New York, the Dance Gazette in London, and NUVO in Vancouver, and is a contributor to the International Dictionary of Ballet and AWOL: Tales for Travel-Inspired Minds. The best-selling author of Paris Times Eight and Ballerina: Sex, Scandal and Suffering Behind the Symbol of Perfection, she is a two-time recipient (2020 and 2014) of Canada’s Nathan Cohen Prize for outstanding critical writing. In 2017, she joined York University as Editor of the award-winning The York University Magazine where she is also the publication’s principal writer. In 2023, she published her latest book, Fashioning The Beatles: The Looks That Shook The World.