The Nutcracker, the most popular ballet in the world, is based on author E.T.A. Hofiman's story Nutcracker and ihe Mouse King. While hundreds of productions have been presented since the 1892 premiere, few have remained true to Hofiman's tale. Devoid of its original context, The Nutcracker for many becomes a balletic night of fancy. It is simply the story of a young girl who receives a wooden nutcracker as a gift from a mysterious guest, later awakens to find her living room turned into the scene of a battle between toy soldiers and giant mice, and is whisked away on a whirlwind tour of a fantastic land. While it is certainly possible to enjoy The Nutcracker at its "face value," the true magic is found beneath the surface.

Indianapolis Ballet Theatre artistic director Eldar Aliev created General Motors' The Nutcrackerl with the purpose of conveying the familiar holiday story in a way that can be understood and enjoyed by audiences of all ages. To accomplish this goal, Aliev returned to Hofiman's story to make clear Issues such as who the Nutcracker is and why he is ugly, why Clara feels compelled to help him, and how Drosselmeyer came to possess his mysterious powers. With all of The Nutcracker's elements now visible, audience members can find their own meaning in the new production. Youngsters may appreciate only the grand spectacle of the costumes and sets, while adolescents might begin to identify with Clara's journey to maturity. Similarly, adults may focus on the choreography or grasp the larger imagery oflife's perpetual cycle. Regardless of age or perspective, the key to enioying General Motors' The Nutcracker is to - if only for two hours - believe in magic.

Prologue:
An old man, tired and uninspired, ambles about his room. We recognize him as author E.T.A. Hoffman only when he is transformed with creative energy and is inspired to write a new story. As the work begins, the author's vivid imagination transports us to the home of the Von Stahlbaum's. The action is frozen and Hoffman prepares to choose a main character. He sees something special in a young girl. Hoffman casts the girl as Clara and himself as the mysterious Herr Drosselmeyer.

Act I:
The Von Stahlbaum's and their children, Clara and Fritz, are hosting a Christmas party. As the guests celebrate, the party is interrupted by the surprise arrival of the eccentric Herr Drosselmeyer. As usual, he delights the crowd with wonderful gifts and magical toys. Drosselmeyer gathers the children and, using life-size dolls as props, tells them story of The Nutcracker.

The Story of The Nutcracker:
In a far away land called the Kingdom of Sweets, there lived the handsome Nutcracker Prince and the beautiful Sugar Plum Fairy. The two were very much in love and anxiously awaited the day they would be married. Before the glorious wedding day, the evil Mouse Queen Ratilda grew jealous because she was neither beautiful nor in love. Out of spite Ratilda tried to steal the Sugar Plum Fairy's beauty, but the Nutcracker prince stopped her. Angry with the Prince, Ratilda cast an evil spell turning him into an ugly wooden nutcracker.

After Drosselmryer's story all the children except Clara return to the party. The Von Stahlbaum's daughter is a girl with a romantic soul and she cannot bear rhe thought of the Prince being separated from his true love. She asks Drosselmeyer if anything can be done to help the Nutcracker Prince. Drosselmeyer tells Clara that if she is willing to go through great trials, she can help and gives her the nutcracker doll. Clara's impetuous little brother, jealous of the attention his sister receives, breaks the doll. Drosselmeyer places the doll underneath the tree and the party continues.

Unable to sleep that evening, Clara goes downstairs around midnight to check on her doll and is frightened by a group of large mice. When the mice turn on Clara and she is about to sacrifice her life for the Nutcracker, Drosselmeyer intervenes. Impressed by Clara's brave act, Drosselmeyer decides to teach her magic. Drosselmeyer then vanishes as quickly as he appeared and Clara faces her next trial. Just as the Mouse King is about to defeat the Nutcracker, Clara summons all her strength and bravery and slays the vile rodent. Ratilda's spell is broken and the Nutcracker returns to his human form as the handsome Prince! Eternally grateful to Clara, the Nutcracker Prince takes her to see the estraordinary Kingdom of Sweets.

Act II:
Drosselmeyer, wielding the unlimited power of the author's imagination, prepares the Kingdom of Sweets for Clara's visit and vanishes before she arrives. The Nutcracker Prince introduces Clara to the Sugar Plum Fairy, the King and Queen, and the wedding ceremony begins. An array o fdelicious entertainment awaits. There are the exotic Spanish, Arabian, Chinese, and Russian dances followed by the little shepherds. Then the magnificent Waltz of the Flowers. Finally, the Nutcracker Prince and the Sugar Plum Fairy dance a romantic pas de deux for Clara. Drosselmeyer appears and tells Clara it is time to go.

Epilogue:
Still at his desk, E.T.A. Hofiman completes the final chapter of a story that he hopes will teach and inspire generations to come.

It doesn't take a Ieap of Imagination to appreciate Indianapolis Ballet Theatre's new production of the holiday classic The Nutcracker.

IBT artistic director Edar Aliev said he set out to make a cohesive program with an easier to follow story line, and he's succeeded. The program was fluid and fast- paced with none of the lags that sometimes showed up in IBT's previous rendition of the holiday- classic.

Thc Nutcracker Is set to the traditional music by Peter Ilylrh Tchalkovsky, but there's much more movement and storytelling. One welcome addition is the character Ratilda. The name Is hokey, but the Jealous rat queen created by Aliev adds levity and fun choreography.

While the program appeals to more mature tastes, It also keeps the chiltlren enthralled.

Eriends Zieminch turns In a performance that is much improved over the portrayal of Shakhriar in One Thousand and One Nights. He is much more certain in his landings.

Harald Uwe Kern's Leaping Chinaman is a highlight of the program.

Elena Borlsova is amazingly agile and exotic In the Arabian Dance.

Roles are rotated for different performances.

The most impressive parts of this wonderful new production are the ingeniously elaborate new sets and backdrops that takes IBT's audience more places than they were able to go In the past.

The arrival of the Mouse King on a flying throne sends gasps through the audience.

The ever-growing Chrlstmas tree is nothing less than spectacular.

The new costumes by Galina Solovieva are nice but in some instances not nearly as grand as those in IBT's previous production.

There's also something dlsturbing about the'breatlth of eras represented by the costumes. The Mice, for instance, wear Renaissance-style pantaloons with poulalnes or pointy medieval shoes.

However, the costumes for the Russian dance, with their Asian influence, are a welcome departure from the usual Cossack-style costumes many productions acquire for this segment. The Murat was about half full for Friday's first two-hour performance.

By Rebecca Bibbs
STAFF WRITER
INDIANAPOLIS STAR

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