Dance Reviews : ‘Nutcracker’: A Sweet, Sour Treat

An active and genial Act I party scene, pretty sets and pyrotechnic stagecraft can go far to make “The Nutcracker” a treat, but the heart still hungers for more sweetmeats.

In David Wilcox’s version of the classic for his Los Angeles Classical Ballet (at the Terrace Theater in Long Beach), routine choreography and pallid dancing fail to satisfy the appetite. This season marks the former Long Beach Ballet’s first performances under its grandiose new name, but it still hasn’t made the big leagues.

Except for the vigorous Russian Dance--executed by three, genuine veteran Russian dancers: Alexander Kalinin, Ozie Azarian and Andrei Baczyknskyj--the Act II variations were disappointing.

The Spanish dancers lacked strong backs, arms and attacks, the Arabian Dance is a kitschy acrobatic piece awkwardly incorporating a billowing silk cloth (despite Maricar Drilon’s self-possessed athleticism) and the Chinese Dance is cutesy-poo stuff. Given the multicultural makeup of Southern California, why couldn’t these ethnic dances have a more authentic flavor?

Although there were some good moments--Ter-Shing Wang’s unfussy delicacy in the Dance of the Merlitons, Aliceann Wilson’s fluidly welcoming ease as the Snow Queen--Saturday night’s performance was bumpy for others.

Helena Ross’s Dewdrop Fairy was a sorry creature with legs not fully extended, a wobbly carriage and a sickly sweet expression. Though a respectful partner, Mark Grothman was a slow-moving Snow King. The corps work in the Waltz of the Flowers featured too many stiff arms and cloyingly cocked heads.

Jacqueline Tarantino’s campy Mouse King in Act I nervously fidgets during the battle and expires a la “Dying Swan.” But then why should Clara--danced by Lourdes Romero on a big, vibrant scale, but with too much mugging--kill such a sweet old thing?

The ballet, accompanied by the company orchestra under Patrick Flynn, was nearly over when the stylish part started. American Ballet Theatre principal Cynthia Harvey’s Sugar Plum Fairy displayed purity of line, generous phrasing and a cool gravity (despite a slip in an awkward lift).

But the main event was Moscow Classical Ballet principal Vladimir Malakhov as the Nutcracker Prince. His movements are so ineffably fluid, his jumps so high and soft, his demeanor so eager and princely that you wish he were not so terribly wasted here.