DANCE REVIEW : Joys of 2 ‘Nutcrackers’ Seen in Young Faces : Dance: Two San Diego troupes unwrapped their versions of the Yuletide favorite, a welcome sign of the season.

Serious balletomanes scoff at the profusion of “Nutcrackers” that pop up this time of year. But for local children, visions of sugar plums dance into their heads from this holiday ballet.

Purveyors of the Christmas classic love “The Nutcracker” because it’s a proven moneymaker that offers boundless opportunities to show off the company kids.

The happy young faces in the audience told the story last weekend when two local troupes--the California Ballet and the American Ballet Ensemble--unwrapped its gaily packaged versions of the Yuletide favorite at separate locations. The sugar-coated fairy tale ballet is one of the most welcome signs of the season.

Cal Ballet’s “Nutcracker” nestled in Friday night at the East County Performing Arts Center, where it remained through Sunday night. The production moves to the Civic Theatre for performances Friday through Sunday and Dec. 20-24.

It was the 19th year for this full-length “Nutcracker,” and the only major differences from last season’s offering were the perennial cast changes.

A new divertissement for six older students decked out in candy-cane stripes was the most noticeable addition to director Maxine Mahon’s familiar choreography. Eventually, it may evolve into a respectable approximation of the traditional Chinese ribbon dance, but the swirling streamers twirled by the dancers as they circled the stage would not cooperate during Saturday’s matinee.

The cancellation of the San Francisco Ballet’s “Nutcracker” this year brought several local children back into the Cal Ballet fold. Tiffany Billings, who danced Clara for the San Francisco’s “Nutcracker” in 1987 and ‘88, was one of them. This year she danced the same role for California Ballet during its East County run (though not the matinee), and she will appear in several of the Civic Theater performances.

Denise Dabrowski, taking her 10th turn as the Sugar Plum Fairy, was as regal and radiant as ever in the Grand Pas de Deux. Guest artist Mark Lanham (who alternates with former New York City Ballet dancer Otto Neubert) was only adequate in his partnering. But he made a handsome Cavalier, and did a commendable job in the solo variation.

Karen Evans was slithery and seductive in the Arabian coffee dance, and Sylvia Poolos made a personable and sure-footed Dewdrop. Both will dance the part of the Sugar Plum Fairy at upcoming performances. Herberto Cortes (a USIU student) made a promising debut in drag for Mother Ginger’s commedia dell’arte shenanigans with a brood of unruly bonbons, the tiniest dancers in the production.

Although Patrick Nollet puts more buffoonery in his Herr Drosselmeyer each year, some sinister aspects of the Hoffmannesque conjurer remained intact--particularly when he invoked the supernatural forces for Clara’s last dream of childhood. And Nollet’s surprise entrance from a puff of smoke in the Grandfather’s Clock had the audience oohing and aahing.

Saturday’s matinee relied on second-string dancers for many of the other roles, so it was difficult to judge the quality of the company. However, talented male dancers were in short supply at this performance, and the ensemble work was uneven. Several very capable female dancers have made their way up the ranks, however, and they were definite standouts on Saturday afternoon.

Debora Rumney (the alternate Snow Queen) was tentative in her movements and awkwardly partnered by Stephen Hook. But, with a little more experience and support, she could grow into the role.

The first act features the usual mixture of mischievous children and harried adults, all gussied up in Victorian finery. This year there is a new generation of parents on stage, including Clarissa Mahon (as Clara’s mother), who danced her way through “The Nutcracker” over the years.

There were plenty of marauding mice, prancing reindeer, sprightly marzipan flutes and marching toy soldiers in the Cal Ballet staging. And they danced with about the same degree of precision that we have come to expect from this school-based ensemble.

The rest of the California Ballet’s run should look and sound better at the Civic, where the troupe has the benefit of more elaborate scenery (some of which just doesn’t fit into East County center) and an orchestra to give Tchaikovsky’s sonorous score a live reading. The special effects, including a growing Christmas tree for the first act, are more sophisticated at the Civic as well.

American Ballet Ensemble’s “Nutcracker” opened at San Diego City College Theater last weekend, and it will show up again there Friday through Sunday night.

This was a banner year for the school-based organization, since it marks the first time in the five-year history of its full-length “Nutcracker” that the ensemble has been able to cast the leading roles from its own ranks. The principals are only high-school age, but they were off to a fine start at Sunday’s matinee.

Christopher Macdougall danced the Cavalier at most of the performances, and will do the honors again beginning with Friday night’s performance. But, at last Sunday’s matinee, Peter Schetters, a familiar guest artist at ensemble concerts, partnered the home team’s Sugar Plum Fairy, 16-year-old Aura Dixon, in this Kingdom of the Sweets. Macdougall did double duty as a candy cane and the Nutcracker Prince on Sunday, and showed plenty of enthusiasm for both roles.

Claire Taber, also 16, the vivacious Clara, and a dazzling Snow Queen and Marzipan as well on Sunday, will dance the coveted role of Sugar Plum Fairy for most of the performances this weekend. And she should be something special to watch.

There were other guests on Sunday’s roster, including San Diego-based Bruno Bosardi, a familiar face from Jazz Unlimited and Three’s Company concerts. He will alternate as the Snow King in future performances, but, on Sunday, he made the most of his chances as the mechanical Moor.

The ensemble’s director, ex-Balanchine ballerina Lynda Yourth, modeled her “Nutcracker” after the New York City Ballet’s, and it is more ominous in character than many versions. That aura is enhanced this year by the addition of an imposing Grandfather’s Clock for Drosselmeyer’s magic. Two new backdrops and a few special effects did much to augment the production as well.

Herr Drosselmeyer was portrayed by 14-year-old Wade Able, trying hard to be imposing in his black eye patch and cape. He is too young to carry it off and was a lot more successful as the red-cheeked Mother Ginger in the candy kingdom.

San Diego-based American Ballet relies heavily on youngsters, and it has a way to go before achieving professionalism. But the well-rehearsed version that showed up at City College last weekend was another step in that direction.