This is an archived article that was published on sltrib.com in 2016, and information in the article may be outdated. It is provided only for personal research purposes and may not be reprinted.

Every December, dance companies far and near seek to retool "The Nutcracker" in hopes of making it more relevant to modern-day audiences. This year, wunderkind choreographer Christopher Wheeldon's new production for Joffrey Ballet is being dubbed a "working-class Nutcracker," Cincinnati Ballet's artistic director Victoria Morgan includes a poodle in her version and Mark Morris' famously irreverent "Hard Nut" marks its 25th year of celebrity.

Yet amid the fanfare here in Salt Lake City over new costumes and sets for Ballet West's 2017 "Nutcracker," artistic director Adam Sklute has rendered timeless the most important themes of the ballet simply through equality in casting.

The audience was surprisingly small on opening night Friday, Dec. 2, at the Capitol Theatre — an observation soon forgotten as the enchanting overture of Tchaikovsky's famous score began and nostalgia filled the air. But the most heartening and relevant aspect of this "Nutcracker" is Sklute's vision of the stage as a place diverse in race, ethnicity, identity and body type. In Willam F. Christensen's "Nutcracker" as staged by Sklute, the shared background of the Stahlbaums' nuclear family and their party guests is the joy of being together.

So when Clara's journey in Act II enlightens her by way of dance customs, this is art that is relevant to our times. For those worried that a multicultural 19th-century Christmas celebration is anachronistic, refer to the smash Broadway hit "Hamilton" to see why casting is justifiably versatile.

There were commendable performances throughout Act II. From the children's cast, The Pages showed impeccable technique and the Ladies In Waiting were grand. In "Arabian," principal dancer Chase O'Connell beautifully stretched out his fluid turns. There were excellent pairings in Emily Adams and Rex Tilton in "Waltz of the Flowers" and, from Act I, Katherine Lawrence and Adrian Fry in "Snow." Beckanne Sisk is a stunning Sugar Plum Fairy, adding her flair to the divertissement as well as to her final bow expressing a genuine satisfaction with her performance.

But it was Beau Pearson's performance as Mother Buffoon that stole the second act and exemplifies my feelings about Sklute's casting. The character has always been a vaudeville-style drag queen, but Pearson takes it over the top, with excellent comic timing, bringing much-needed spice to the second act. Much to Pearson's credit, he has also developed the character of Dr. Drosselmeyer to such a level of ownership he should trademark it as intellectual property.

The achievement of this "Nutcracker" is the continued embrace of Christensen's timeless theme of inclusiveness and Sklute's wish to never put that far from view. —

Ballet West's 'The Nutcracker'

When • Reviewed Dec. 2; continues through Dec. 26; 7 p.m. Dec. 8-10, 13-17, 20-23 and 26; 2 p.m. Dec. 10, 17, 22-23 and 26; noon Dec. 11, 18 and 24; and 5 p.m. Dec. 11 and 18

Where • Capitol Theatre, 50 W. 200 South, Salt Lake City

Tickets • $19-$102; artsaltlake.org

Running time • Two hours with one 15-minute intermission

Sugar Plum Party • Join the Sugar Plum Fairy and her Cavalier, Clara, the Nutcracker Prince and more for an onstage party immediately after most matinee performances of "The Nutcracker." Tickets include a nutcracker ornament, cookies and punch, and a picture with the Sugar Plum Fairy and fellow cast members; $11; artsaltlake.org