Who does not love “The Nutcracker” performance by the Richmond Ballet at Christmas? The beautiful costumes and magnificent stage sets, the grace of the Sugar Plum Fairy and Clara, the drama of the Mouse King and the delightful vision of the prince and princess traveling in the sleigh together, are visions many look forward to experiencing. White tulle tutus, dancers on “point,” a hand held just so…a lift, a twirl, a gracefully held arm… the precision and careful movements of classical ballet transport the viewer out of the mundane to a place where the human spirit can soar with possibility.
Human potential — a vision of the goodness and promise of mankind — is on view with classical ballet. Viewers can enjoy the vocabulary of the practiced movements, beautiful set designs, and the carefully choreographed arrangements. Classical ballet is a transformative experience. Nothing quite heals from the drudgery of a long winter like the ballet, especially when combined with the musical arrangements and skill of Pytor Tchaikovsky.
So, it was with tulle and tutus in mind that I attended the Ballet’s February 18th Studio Series performance. After nearly a year of COVID restrictions, social distancing, masking diktats, sheltering at home, and disappointingly small Thanksgiving and Christmas gatherings, I needed the ballet. The fall production had, sadly, featured only one “classical” piece — but that magnificent opening dance had lingered in my memory for months. The contemporary pieces, though athletic and skillfully performed, did not transport the spirit in the same way. Continue reading