A classic in Utah, Ballet West’s ‘Nutcracker’ on road to becoming a national tradition

Ballet West has added a new tradition to its popular holiday performance of "The Nutcracker," opening Friday at the Capitol Theatre in Salt Lake City.

For the second time since 2012, the company will take a brief interlude from its hometown run to present Ballet West founder Willam F. Christensen's version of "The Nutcracker" at The Kennedy Center in Washington, D.C., Dec. 10-14.

Only two other ballet companies in the nation — New York City's American Ballet Theater and Chicago's Joffrey Ballet — enjoy the privilege of performing "The Nutcracker," with its magical storybook story set to Tchaikovsky's classic score, on the Opera House stage.

The Washington Post quipped after the sold-out 2012 performances that the "bright-spirited production, from Salt Lake City's exceedingly handsome ballet company," was nearly bursting with "comfort and joy."

The Kennedy Center, the busiest performing-arts center in the nation, has a long history with Ballet West artistic director Adam Sklute through his work with the Joffrey Ballet. The center's interest in Ballet West's "Nutcracker" — billed as the longest-running full production of the holiday classic in America — began in 2008 when it invited the Utah company to participate in Ballet Across America, a program that showcases the best work of regional companies across the nation, said Meg Booth, the Kennedy Center's director of dance programming.

Booth praised Ballet West as "such an asset to our Ballet Across America festival" that it led to talks about "The Nutcracker."

"The charming costumes and rich story line seemed a natural fit with our live Opera House Orchestra, particularly all of the children's parts," she said.

Christensen's "Nutcracker" is legendary for its large cast of children.

But that brings challenges, notably perplexing rehearsal schedules and four rotating casts for the Utah performances involving upward of 300 children.

Kati Snarr, now in her ninth year as children's ballet mistress, said a record-breaking 600 children came to the Utah auditions this year.

"In most 'Nutcrackers' across the country, you have girls filling in the boys' roles," Snarr said. "But this year here in Utah, I even had to turn away boys."

In the 2012 Kennedy Center performance, the principal children's roles of Clara and Fritz were danced by Utah kids. This year, the entire children's cast is from the D.C. area, except for the two tiny tumblers who astound audiences as they go flying across the stage.

Surprisingly, there were no tumblers at the Washington auditions. Not so surprising, the rehearsal schedule is still a complicated puzzle despite there being only one cast of 75 children for all four shows.

"One of the girls lives three hours outside of D.C.," Snarr said as an example of the logistical challenges. "So I have to make sure she is on the same rehearsal schedule as another girl who lives in D.C. and know each other from a summer dance program, who she stays with during 'Nutcracker.' "

Sklute and Snarr go to D.C. in early September to conduct auditions for supernumerary roles and then rely on former American Ballet Theatre dancer Rhodie Jorgansen to rehearse the children until Snarr returns a few days before the run.

"Rhodie has an incredible eye for detail and we are in daily contact from September through December," Snarr said. "She rehearses the Joffrey and ABT children when they are in D.C. and has been a friend and colleague of Adam's for many years."

Snarr's job continues to expand as Ballet West begins to tour more and add children into ballets such as the recent production of "Giselle."

Peter Christie, Ballet West director of education and outreach, has been with the company for more than 30 years and likes the direction the company is taking.

"Adam is expanding the company within the traditions and from the perspective of our founder," Christie said. "Christensen always encouraged dance education and stage experience for children."

In Utah, Christensen was known for his charisma and showmanship, populating the stage with people of various ages to entertain and draw his audience closer.

"I see Christensen's philosophy reflected in Adam's productions," Christie said. "It's sort of like, 'If you're going to show a village onstage — show a village!' "