BALLET REVIEW : Joffrey’s ‘Nutcracker’ at the Dorothy Chandler Pavilion

The triumph of the Joffrey Ballet “Nutcracker” (at the Dorothy Chandler Pavilion through Dec. 31) is definitely not its approach to Candyland--skimpy scenically and atrocious in its tinkering with Tchaikovsky.

Nor are the earlier dream sequences especially memorable. Kermit Love’s panoply of mice may be splendid, but the special effects are paltry and most of the crucial transformations utterly without magic.

No, this familiar 1987 production is strongest exactly where most other stagings sink without a trace: in the Christmas party scenes. Here the late Robert Joffrey’s decision to set the ballet in 19th-Century America seems inspired. The stage becomes virtually a gallery of artifacts from Main Street, U.S.A., and the toys, especially, are a delight.

Oliver Smith has designed a home in which we would feel comfortable. John David Ridge’s costumes suggest varying tastes and incomes. The character interaction remains detailed and vivid, the social dances invigorating and the sense of family warmth irresistible.

Some components of this “Nutcracker” reflect the 1892 original (doll-dancers emerging from a cabbage and pie, for instance). Some are from the last few years (Gerald Arpino’s reliance on male virtuosity in his snow dances). Much of the last act comes from an abridged Ballet Russe de Monte Carlo “Nutcracker” that appeared midway between these two eras.

What holds it all together is Drosselmeyer--a manipulative, omnipresent ringmaster who would be unendurable if veteran character specialist Alexander Grant did not possess so much energy and flair. No, Grant cannot make the commonplace glitter-dust that he flings seem magical. But he can conjure up an inner life that gives this perplexing old coot a touch of Pied Piper magnetism.

Happily, Grant is a fixture of the production and so is the Clara of Mary Barton, who manages to convincingly play ascending levels of awe (if little else) throughout the ballet. Nearly everyone else switches roles: tonight the Sugar Plum Fairy, tomorrow just another marzipan shepherdess. Like life.

On Wednesday, Tina LeBlanc presided over Candyland graciously, dancing the ballet’s big classical showpiece with exemplary style and control--despite weak partnering from Tom Mossbrucker (rushed and none too fluent in solo challenges) and the hectic pace enforced by conductor Allen Lewis.

Among the divertissement dancers, Beatriz Rodriguez (Chocolate) had more than her share of authority--as usual--but her colleagues upheld Joffrey standards of youthful dynamism.

Edward Stierle flew through the snow bravura, looking not just fleet this year but newly powerful. Deborah Dawn and Douglas Martin danced majestically as the snow monarchs, though billowing fog made much of their legwork impossible to see. Carl Corry appeared in the thankless role of Nutcracker Doll and Edward Morgan was assigned to the Mouse King--who looks something like a giant Medfly in this version.

Squeaky strings, feeble brass and Lewis’ emphasis on speed proved consistent irritants, but at least the Paulist Boy Choristers brought refinement to the snow vocalise.