If schoolwork has got you feeling more like the Grinch than Cindy Lou Who this Christmastime, hoof it to the Frist Film/Performance Theatre to watch Princeton University Ballet’s production of “NUTZ.” After only an hour-long performance, the classical selections from Tchaikovsky’s “The Nutcracker” were enough to send me on a search for sleigh bells and peppermint hot chocolate. But the real gems in “NUTZ” are the contemporary pieces, particularly Garth Johnson’s “Sleep” and Gray Holubar ’13’s “Break.”
In “Sleep,” Juilliard student Garth Johnson has put something beautiful and unrecognizable on stage. “Sleep” is unlike any dance you’ve ever seen before; the seven dancers come together and fracture apart with fresh movement and fervor. Each dancer on stage is absorbed in his or her own movement, and the audience is similarly drawn in. The music, Eric Whitacre’s “Sleep,” is a compelling choice — the emotion of this piece is palpable. This piece makes the show, and that’s saying something for a show which already has a lot going for it.
The first half of “NUTZ” is a humorous take on the traditional Nutcracker plot. Dan Feinberg ’13 guest stars as a modern-day texting, bubble-gum chewing Clara. Feinberg wanders through the show, utterly stymied by the dancing going on around him. This fresh, fun representation of “The Nutcracker” is supported by enjoyable and challenging choreography — especially in the Chinese and Russian variations. The Chinese variation, choreographed by Paige Hupy ’14, was the first of the show in which the dancers truly seemed to be happy, in unison and light on their feet. The ribbon dancing in this piece is an excellent touch. This piece is followed closely by Holubar’s Russian variation, in which four of PUB’s male dancers dominate the stage with athletic and energetic choreography. These men jump, leap and toe-touch their way across the stage with ease and strength. “Russian” is the highlight of the first half.
The stressful aspects of the first half of “NUTZ” are wholly contained in the partnering sections. The tension in the pit of my stomach as I watched the pairs do complicated lifts and turns was not a pleasant feeling. I was relieved when partners left the stage and the corps replaced them. PUB aims to impress with powerful lifts, but said lifts end up looking like more work than they’re worth. The female dancers themselves look insecure while being thrown in the air, and the strain in the male dancers’ faces is visible. The most entertaining aspects of “NUTZ” are when the dancers keep both feet squarely on the ground and can really commit to the choreography.
The second half of “NUTZ” is comprised of contemporary works, largely performed on pointe by the ladies. The aforementioned “Sleep” is the breakaway hit of the second half, but has to contend with Holubar’s finale, “Break.” This piece is by far the most interesting choreography performed en pointe. Holubar’s selection of music, “Brotsjor” by Olafur Arnalds, is energetic and powerful. The dancers know their steps, perform in perfect synchronization and all seem to understand the mood of the piece. It’s an excellent, feel-good finale.
Pros: Talented dancers, Christmas spirit,"Sleep."
Cons: Scary lifts.
4/5 Paws
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