REVIEW: Phoenix Ballet’s The Nutcracker

The Nutcracker has long been a cherished holiday tradition, offering both a magical escape and a whimsical experience for audiences and dancers alike. Having seen this ballet countless times over the years, I’ve always been left in awe of the dancers’ stunning performances and the incredible feats they accomplish. That being said, after over a dozen viewings, the story began to feel a bit repetitive – same story, same magical tree, same battle between mice and soldiers. After taking a decade-long hiatus, I was excited to experience this holiday classic once again – this time, through the lens of a ballet company I had never seen before.

The Phoenix Ballet and Master Ballet Academy presented a fresh and delightful take on The Nutcracker under the direction of their Artistic Director, Slawomir Wozniak. The performance was set in the Arizona Financial Theater – a new venue for the company this season, which is typically reserved for large-scale concerts and events. This venue offered a unique backdrop for the production. The addition of a live orchestra, courtesy of the Chandler Symphony Orchestra, conducted by Vanja Gjumar Nikolovski, brought an extra layer of richness to the experience. While I personally lean toward the intimacy of a traditional theatre proscenium, I was impressed by how the Phoenix Ballet utilized the larger venue to create a sense of closeness, and the acoustics allowed the orchestra to shine. However, the presence of TV screens was a bit distracting, and I never imagined I’d be munching on popcorn and sipping soda during a ballet! It definitely gave the event a more casual, almost concert-y vibe, and I must admit, the informality of the venue did encourage more foot traffic and phone-checking than I’d expect from a traditional theater setting. Nonetheless, these minor distractions didn’t diminish my overall enjoyment of the performance.

Act One, which I traditionally considered the “snoozer” of The Nutcracker (fun fact: my mother used to fall asleep every year during this part!), was anything but dull in this production. This is the segment where the characters are introduced, families gather for a Christmas party, and the storyline begins to unfold. It’s usually light on the dancing, and I’ve often found myself longing for a bit more action. But I must give credit where it’s due – Mr. Wozniak took a fresh approach to this first half, turning what is typically a slower, story-building section into an engaging, lively, and at times downright funny series of moments. The choreography allowed the dancers to showcase their technical prowess beyond the usual waltz or partner dances. The Drosselmeyer character, played by Zane Green, was a delightful standout, channeling the energy of a cruise director as he guided us through the narrative with charm and even a few cheeky nods to Michael Jackson. Clara, portrayed by Victoria Carrillo, was a joy to watch—a young dancer with a bright future ahead. The playful dynamic between the dancers, especially the younger ones, was infectious, and it was clear that everyone on stage was having fun. The audience’s attention was constantly drawn to different parts of the stage, as the dancers gave us a visual feast of lively moments—from dolls coming to life to playful battles between boys and girls (and the repercussions!).

However, the iconic moment when the tree grows seemed a bit understated. In previous productions, this magical moment is usually accompanied by the dramatic musical crescendo of the orchestra and awe-inspiring visual effects, but here it was almost missed entirely – at least, I didn’t fully notice it until it was nearly done growing. While I missed that “wow” factor, the ensuing battle between the mice and the soldiers more than made up for it. The mouse costumes were hilarious, and the dancers’ ability to fall and roll around the stage in comedic fashion had the audience laughing out loud. I also appreciated the inventive reveal of the Prince, with his Nutcracker head coming off in a seamless and creative way.

Act One ends with Clara and her Prince welcomed into the Land of the Snow, setting the stage for the second act. The snowflakes danced beautifully in perfect unison, filling the stage with outstanding technique. It felt like a whirlwind as the dancers twirled and weaved seamlessly through each other, and the snowfall at the end added a magical touch, leaving the audience with a sense of wonder as they eagerly anticipated what was to come.

As much as I enjoy the second act (usually my favorite), I must admit I was somewhat underwhelmed this time around. I felt there was untapped potential in some of the Flower Fairy dances, particularly in showcasing the dancers’ athleticism and artistry. The Russian cavaliers did not disappoint, delivering the high-energy, acrobatic feats one would expect, and the audience responded enthusiastically. However, I found the Arabian dance lacking in the strength and flexibility that usually leaves me in awe. While I did enjoy the dancer’s creative entrance rolling out on what appeared to be a Persian rug, I couldn’t help but feel that the dance needed a little more – more drama, more athleticism… just more.

That said, the standout moments of the second act were undeniably the Russian dance and the beautifully synchronized Sugar Plum Fairy and her Cavalier. The Russian Cavaliers, Pavel Getman and Parker Rozzano-Keefe, were a force of nature – impressively strong and exhilarating to watch. In contrast, I thought the choreography of the Sugar Plum Fairy (Chloe Hennessy) and her Cavalier (Slawek Wozniak) felt safe, and could have been more dynamic, however they performed with such perfect unity and connection that it was impossible not to admire the precision and elegance of their dancing. Every detail, from their matching arabesque heights to their seamless movements, was executed with grace and dedication.

Overall, this was a truly impressive production. The costumes and sets were elegant, and the detail to each part was superb. From the “flair” on Drosselmeyer’s vest, to the mouse slippers on the Rat King, it was wonderfully imagined. The large cast worked together seamlessly; Mr. Wozniak excels at the big group numbers, allowing the corps dancers to fully support the soloists and add to the whole picture. And there is no doubt that the dancers at the Master Ballet Academy are well-trained and full of promise. Whatever they’re doing there, it’s clearly working. Congratulations to the dancers, to Mr. Wozniak, and to the entire company for a captivating and joyful performance. It certainly brought a bit of nostalgic holiday cheer – and a touch of magic – back into my life.

ABOUT THE AUTHOR: Shauna Meredith is a trained professional dancer with 30+ years of industry experience who received her MSc in Dance Science from the Trinity Laban Conservatoire of Music & Dance in London, England. She is also Adjunct Dance Faculty for Scottsdale Community College and Glendale Community College. CPT, NASM