In theatre, the staging of The Nutcracker signals that Christmas is finally here. With the first shows opening last weekend, The Nutcracker continues its run this weekend at the Kenya National Theatre. This show also marks DCK’s 10th anniversary as a production company.
Based on Russian composer Pyotr Ilyich Tchaikovsky’s two act classical ballet, the story begins at the house of Count and Countess Stahlbaum hosting their annual Christmas party.
The beauty of this show happens because one guest, Dr Drosselmeyer, (Alvin Weru) a friend of the family always remembers the children and brings something special for them including Clara, who is his goddaughter.
While the other children get toy soldiers and life-size dancing dolls, Clara (Ava Cheptoo Cheruiyot) gets an extraordinary toy – a wooden nutcracker in the shape of a toy soldier.
It is Clara’s dalliance with her nutcracker that makes the magic of the evening through the various scenes she imagines on that Christmas night, entirely in her dreams.
Managing a large ballet company of over 500 students, each of whom is expected to appear on stage at some point, can be daunting. This show gives company director Cooper Rust the opportunity for each child to experience the magic of performing on stage.
From the dancing mice who first appear under the tree to the snow-flake fairies in the Kingdom of Sweets and the beautiful angels, each moment offers an opportunity for the children to get their part. They do it oh so well and Ava Cheptoo charms with her small frame and maturity on stage in her role as Clara.
The Nutcracker comes to life at the arrival of the Rat King (Hyogo Yamane), and they battle it out in a ferocious sword battle. The Nutcracker’s spell is broken with the wave of Drosselmeyer’s cape transforming him into a handsome prince (Abdoulaye Diebate) who sweeps Clara to the Land of sweets.
This show’s central focus is not only its storyline but the changing scenes and costumes. Outside of the producer’s primary role, the costume director would be the most important assignment on this show.
From procuring the trimmings and tule for the skirts to the battle soldiers coats and hats, the mice’s outfits and Little Bo Peep and her beautiful sheep at the very end, it requires attention to detail. It is in the satins and corsets, the winter hats and cloaks of the men and the crowns worn by each of the ballerinas. It is in the colours that come in the second act complementing the winter wonderland in the backdrop.
Movement is also determined by the type of costume worn. The handsome prince and Snow Cavalier (Francis Kibe) keep their arms around the ballerina’s waists, measuring the distance with the tule skirts yet keeping the ability to lift them off the ground and admirably, into the air.
Cooper celebrates the growth even in costuming, noting that when they first produced The Nutcracker, the productions used leotards with tulle skirts stitched by themselves. Today, DCK can have their costumes made to the highest standards both locally and abroad, and it shows.
Music in this show is another achievement and area of growth. The symphonies in The Nutcracker are old, the sound of yesteryears demanding an experienced hand in its direction.
May Ombara leads the music composed by Igor Tchaikovsky and conducted by Anthony Muriuki and Levy Wataka, now in his 5th year with DCK on their musicals. The sounds coming from the pit also feature experienced hands and transport us to the music from Russia, India, Arabia all the way to the Dance of the Reed Pipes and all the 24 tracks combined.
This year, the musical was graced by the presence of Christine Gustafson, a flute soloist who has performed in several places including Austria, Germany, Taiwan and China. A renowned player in her circles, it speaks to the influence that DCK has for its ability to bring in this talent to join them.
DCK uses a cast made entirely of students in its performances, and if there are adults, very few and often just graduated students. In contrast, the New York city ballet which does up to 50 shows of the same performance has both professionals and students showing that DCK can only keep growing in its appetite for great things. This year however, there was the noticeable presence of four adult ladies in the middle of the second act in the scene with the sugar plum ladies. The special group are ladies taking adult ballet classes and are also parents and desired to be included. The magic seemingly rubbed off and they could not resist.
Speaking of students, a special mention must be made for Brookhouse school’s Jannel Musili playing P.T. Barnum, the master of the Show in The Greatest Showman. Showing at the Brookhouse theatre two weeks ago, The Greatest Showman is the story of Barnum, the dreamer who turned imagination into spectacle and gave the world one of its greatest shows.
Jannel not only played Mr Barnum effortlessly, but her voice travelled far into the spaces in which she sang. A multi-talented actress, singer and musician, the year 11 student shows great promise in the theatrical world. She studies drama amongst her other subjects but is keen on finding a career on stage, or as a lawyer and it can only get better for her from here.
