Onstage Again: SAB Students Revisit Past Nutcracker Roles

A scene with the Candy Canes from George Balanchine’s The Nutcracker®, photo by Erin Baiano

SAB students Viola and Manuela – both 15 years old – thought they had bid goodbye to the children’s roles in George Balanchine’s The Nutcracker®, having danced in the production from 2015 to 2017. During this time, both performed as Soldiers in the first act and as Candy Cane hoop dancers in the second. They were given the opportunity to reprise these roles in 2021, as students 12 and older filled every single children’s role in this season’s production due to vaccine requirements ー a first in New York City Ballet’s history.

“We were all… more aware of the special circumstances we were dancing in,” Manuela said. “I think it was really special for everyone, especially the kids that would never have gotten the opportunity, or kids like me that said goodbye to Nutcracker four years ago.”

From the casting process to the costumes and makeup, The Nutcracker’s children’s roles were reimagined from start to finish. On New York City Ballet’s casting days for children’s roles, Viola said there was much less actual dancing than in previous years, as the older dancers did not necessarily need to prove they could perform the choreography that had originally been created for younger students. And when transitioning from studio to stage, the traditional makeup for soldiers had to be adjusted to accommodate wearing masks backstage.

 

The battle scene with the Soldiers from George Balanchine’s The Nutcracker®, photo by Erin Baiano

Approaching the roles of Soldiers and Candy Canes again gave Viola and Manuela the chance to revisit familiar dances with newfound wisdom on their side. As an older student performing dances learned years before, Viola said she was able to see how her technique had progressed over time. This year, she could focus more on the performance element rather than solely on mastering the movement.

Not only did their dances get a fresh take, Viola and Manuela had a newfound awareness of the production elements as a whole. Viola found that while she felt the gravitas of performing at the David H. Koch Theater much more than in previous years, she was actually able to manage any stage fright more effectively than she had been able to as a 10-year-old. For Manuela, she paid more attention to the nuances of production elements, noticing how New York City Ballet dancers navigated the stage as well as their off-stage interactions.

“Dancing in The Nutcracker as an older student just opens your eyes to how a production really works,” explained Manuela.

Though the run ended early, Viola and Manuela were grateful for the opportunity to dance in George Balanchine’s The Nutcracker® once more. Both Nutcracker veterans’ advice to younger students taking on children’s roles next year is to enjoy the moment and not dwell too harshly on any mistakes. When asked which Nutcracker role they would love to perform one day, both aspired to dance the role of Dewdrop, the lead in the Waltz of the Flowers known for its intricate sequences of movement that demand speed and endurance.

“I hope one day I’ll be good enough to do those iconic fouettés,” joked Viola.

By dancing children’s roles in New York City Ballet’s George Balanchine’s The Nutcracker®, SAB students gain a unique insight into what it means to dance professionally. These formative experiences often serve as the catalyst for many successful careers – in this newsletter, read about SAB alumna Eleena Melamed’s memories from George Balanchine’s The Nutcracker® that inspired a career in dance and beyond.