‘Nutcracker’ parades young talent at Rio

Marilyn LaRocque

Wednesday, Dec. 18, 2002 | 8:16 a.m.

The lavish Nevada Ballet Theatre (NBT) production of Peter Illich Tchaikovsky's "The Nutcracker" opens at The Rio's Samba Theatre on Thursday and runs through Monday. The stunning new version of the holiday classic debuted last season.

A $250,000 grant from the Reno-based E.L. Wiegand Foundation and primary sponsorship by International Game Technology enabled NBT to commission opulent new sets and costumes by Paris-based Russian designer Alexandre Vassiliev.

NBT's artistic director, Bruce Stievel, created new choreography that gives the ballet elegance and flair.

A theater-size orchestra of Las Vegas Philharmonic musicians, under the baton of Music Director Harold Weller, will perform the memorable score.

Weller has conducted "The Nutcracker" more than 125 times, in Ohio and Arizona, as well as intermittently with NBT since 1993.

"All kinds of things change when a work is performed as a ballet instead of a concert piece," Weller said. "Tempos tend to be a bit slower because the music must fit the choreography.

"For example in concert, the Trepak (Russian dance) can go lickety-split in one minute and bring down the house. In the ballet, the dancers do wild jumps with splits in the air, but the slower tempo doesn't lessen the impact of the acrobatics and terrific athletics that still bring down the house.

"Tempo changes vary subtlely from night to night depending on who's dancing," he added. "You have to get used to accommodating needs of each dancer and make it grand and exciting."

"The Nutcracker's" tradition began in December 1892 in St. Petersburg, Russia, when Tchaikovsky was court composer. The NBT "Nutcracker" is set in St. Petersburg at an Embassy Ball.

Clara, the hosts' daughter, receives a nutcracker for Christmas. She dreams that the Nutcracker comes to life as a handsome prince and takes her and Fritz, her brother, to the kingdom of the Snow King and Queen and Sugar Plum Fairy.

The roles of Clara and Fritz will alternate between NBT Academy students Monica Moazez and Rebecca Swain as Clara and Aaron Sampson and Cameron Findley as Fritz.

Monica Moazez, 11, started dancing when she was 5, has studied piano since she was 3 1/2 and began violin lessons last year. She is literally following in the footsteps of her older sister, Carmel, now 13, who was Clara last year.

"Clara has harder, more advanced steps," Monica said. "They're flowing, with a lot of traveling, and lots of acting, too. She has a solo that's really exciting. Carmel was very animated, and people applauded. I hope I do as well."

Rebecca Swain, 11, began dancing in kindergarten.

"I thought dancers were very pretty when I was little," she said, "and thought it would be fun to dance, and it is. My sister, Danielle (now 14) danced, and I watched her classes. I've never been Clara before. It's really fun to work with other dancers and be in a big production."

Rebecca loves Clara's party costume.

"It's really full and has lots of layers," she said. "You have to learn how to dance in it."

Aaron Sampson, 8, has been dancing since he was 4 and wants a career in dancing.

"I'm very excited about being Fritz," Aaron said. "I've never been able to do this part before. I do lots of pirouettes and tours (jumping turns)," he added. "I also get to watch all the other dancers. I like being one of the main people. I'm very thankful they chose me to be Fritz."

Cameron Findley, 11, discovered ballet when Steivel conducted a workshop for his Cub Scout Troop. Cameron first was a "Nutcracker" party boy, then became a bonbon. He's been Fritz for four years.

"There's lots of marching and skipping and acting," he said. "Bruce's choreography gives Fritz a bigger role, so he's part of Clara's dream and goes to the Snow Palace."

There are 140 children in the production (two casts, 70 each), ranging in age from 6 to 16.

Carole Sampson, Aaron's mother, is the children's rehearsal director and a member of NBT Academy's faculty.

"I work with them in separate groups -- the party scene, mice and soldiers, angels and cooks, and bonbons," she explained, "then put them together."

Carole specialized in teaching children while studying to be a professional dancer.

"I had to take a required course in child psychology," she said. "In classical ballet you're working towards perfection, which even young kids must understand. I tell them stories of what I went through, from Royal Academy of Dance (London) exams to falling off the stage.

"There's such fulfillment when you see what children can achieve. It's a joy to work with them."