Alternative 'Nutcrackers'

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METRO.US WEEKEND, DECEMBER 4 - 6 , 2015 WKND 17 Alternative ‘Nutcrackers’ The confetti-laden Dance of the Snowfl akes from Mark Morris’ “The Hard Nut.” STEPHANIE BERGER From the classical to unusual and surprising er Prince take in performances Keith Michael’s “The Nutcracker” has Art Nouveau costumes. JULIETA CERVANTES the R-rated, you’re versions, from the classic from a host of New York City’s sure to fi nd a version to the irreverent to the most eclectic dance companies, “Nutcracker Tickets start at $50 NSFW. including Bulgarian folk, Jamaican Rouge” of Tchaikovsky’s be- dancehall and classical Indian. George Balanchine’s loved ballet that speaks Dec. 15 - 20 Company XIV “The Hard Nut” Harika Chatlapalli will perform classi- “The Nutcracker” to you. The Secret Theatre, 4402 23rd This is not the “Nutcracker” Mark Morris Dance Group Street, Long Island City cal Indian dance at “Dance the World from your childhood. New York City Ballet PAVAN CHATLAPALLI If “The Nutcracker” were directed $25 general admission, $20 Nutcracker Festival.” “Nutcracker Rouge” blends The ne plus ultra of all “Nutcrack- RAQUEL LANERI by John Waters, it would probably students/seniors/artists classical dance with circus, ers,” with an epic on stage @RaquelLaneri look a lot like this gender-bending, and even an owl that fl ies above opera, drag, burlesque and snowstorm, hundreds of elaborate [email protected] swinging, 1970s romp. With a Keith Michael’s “The the audience. Adults will dig the high fashion for the ultimate costumes (including a mammoth look based on comic book artist sophisticated Art Nouveau set and mashup. Partial nudity, so only 85-pound Mother Ginger outfi t) When it comes to the Charles Burns’ cartoons, “The Hard Nutcracker” costumes. 16 and over admitted. and that famous Christmas tree holiday season, certain Nut” features raucous parties, New York Theatre Ballet Dec. 11 - 13 New York Theatre Through Jan. 15 that grows from 12 to 40 feet. clichés — pardon us, dancing GI Joes and lots and lots An hour-long “Nutcracker”? Sign Ballet Minetta Lane Theatre, 18 Through Jan. 3 traditions — come to of confetti. us up! This kiddie-friendly produc- Florence Gould Hall, 55 East 59th Minetta Lane David H. Koch Theater, 20 Lincoln mind: chestnuts roasting Dec. 12 - 20 tion adds a cartoonish vibrancy to Street on an open fire, visions of Brooklyn Academy of Music, 30 the traditional ballet, with mice $34 general admission, $24 sugar plums dancing in Lafayette Ave., Brooklyn dressed in polka dots, ballerinas children 12 and under one’s head and, of course, Tickets start at $25 dancing with huge chopsticks “The Nutcracker,” the Christmas-themed ballet “Dance the World that has captivated children (and adults) for more Nutcracker Festival” than a century. But even if JP Dance Group classical music and tutus This multicultural “Nutcracker” aren’t really your thing opens in a Harlem brownstone — or if you’ve seen the in the height of the roaring ’20s, Tchaikovsky ballet a mil- with music from Duke Ellington’s lion times — don’t write jazz arrangement of Tchaikovsky’s off this holiday classic original score. It then makes its just yet. Here we round way to the World’s Fair, where up some of the best, most fl apper-girl Clara and her Nutcrack- “Nutcracker Rouge” JOSHUA FLANNIGAN George Balanchine’s production is the standard-bearer. PAUL KOLNIK.

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NUTCRACKER Light Design ……...Todd Bedell “Simply a Magical
Artistic Director....…...Kim Tuttle Choreography.……....Kim Tuttle Dance Alive Music …………P.I. Tchaikovsky Set Design ……….. Bob Moody National Ballet Front Border ……...Carlos Asse Costume Design…...Soili Arvola Presents Mother Goose costume & props Carlos Asse NUTCRACKER Light Design ……...Todd Bedell “Simply a Magical Dance Alive National Ballet is Performance!” a professional ballet company touring the Southeastern United States and Latin “It Wouldn’t Be The Holiday Season America representing the Without Nutcracker!” State of Florida. Dance Alive National Ballet lives up to its “The Best Holiday Gift To You And name. Movement is at the Your Students Is Nutcracker!” heart of everything it does. With an extraordinary group of The story of the NUTCRACKER, based on a tale by E.T.A. Hoffman, dancers from all over the begins with a gala Christmas Eve party. Uncle Drosselmeyer, the chil- world, and dynamic lead- dren’s favorite, arrives and presents Clara, the heroine of the story, with er and Artistic Director, Kim an amazing Nutcracker in the shape of a soldier. To her brother Franz, Tuttle, Dance Alive National Ballet has developed he gives a toy sword! into one of the most distinguished and creative That night, Clara is too excited to sleep. On the stroke of midnight, she ballet companies in the creeps downstairs to retrieve her Nutcracker and witnesses a fierce bat- Southeast. Dance Alive National tle between her brother’s toy soldiers and hundreds of mice, led by a Ballet continues to develop fierce Mouse King. At the height of the battle, when her Nutcracker is innovative arts educa- about to be felled by the Mouse King, Clara saves him by throwing her tion programming and is slipper smack into the Mouse King! Lo and behold, her Nutcracker be- involved in artist residencies, comes a Prince, and strangely enough, looks just like her Uncle developing dance curriculum and outreach performances Drosselmeyer’s nephew! for public schools.
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Hastings Communications and Entertainment Law Journal Volume 36 | Number 1 Article 5 1-1-2014 Copyright and Choreography: The egN ative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model Matt Kovac Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Matt Kovac, Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model, 36 Hastings Comm. & Ent. L.J. 137 (2014). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol36/iss1/5 This Note is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Copyright and Choreography: The Negative Costs of the Current Framework for Licensing Choreography and a Proposal for an Alternative Licensing Model by MATT KOVAC* Abstract Although approaches rooted in copyright law are available, choreographers tend to rely instead on contract law in order to control distribution of their work; choreographers license their ballets to dance companies via contracts which are typically negotiated on an ad hoc basis. This relatively conservative approach allows choreographers to maintain tight artistic control over subsequent reproductions of their ballets, but it comes at a cost to both the dance community and the general public.
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DECEMBER 2019 DECEMBER 6 - 15 THE PARAMOUNT THEATRE DECEMBER 6 – 15 The Hard Nut Based on The Nutcracker and Mouseking, by E.T.A. Hoffmann Music by Pyotr Ilyich Tchaikovsky, The Nutcracker, Op. 71 (1891-1892) Mark Morris, choreography Adrianne Lobel, set design Martin Pakledinaz, costume design James F. Ingalls, lighting design Production based on the work of Charles Burns MARK MORRIS DANCE GROUP MICA BERNAS KARLIE BUDGE BRANDON COURNAY DOMINGO ESTRADA, JR. LESLEY GARRISON LAUREN GRANT SARAH HAARMANN DEEPA LIEGEL AARON LOUX LAUREL LYNCH MATTHEW McLAUGHLIN DALLAS McMURRAY MINGA PRATHER BRANDON RANDOLPH NICOLE SABELLA CHRISTINA SAHAIDA BILLY SMITH NOAH VINSON JAMMIE WALKER SAM BLACK JOHN HEGINBOTHAM BRIAN LAWSON JANELLE BARRY DEREK CRESCENTI JOHN EIRICH JULIE FIORENZA AVA GIRARD ROBERT LEWIS CLAUDIA MACIEJUK CLAUDIA MCDONALD WENDY REINERT CAITLIN SCRANTON TIMOTHY WARD Artistic Director MARK MORRIS Executive Director NANCY UMANOFF THE PARAMOUNT ORCHESTRA EASTSIDE PREP CHOIR SHORECREST HIGH SCHOOL CHOIR Colin Fowler, Conductor Ofﬁcial Tour Sponsor Bloomberg Philanthropies Major support for the Mark Morris Dance Group is provided by American Express, Anonymous, Beyer Blinder Belle Architects & Planners, LLP, Allan and Rhea Bufferd Education Fund, Frederick and Morley Bland, Gale Epstein, Doris Duke Charitable Foundation, Judith R. and Alan H. Fishman, York-Chi and Stephen Harder, Howard Hodgkin Estate, John and Tommye Ireland (in memoriam), Suzy Kellems Dominik, Shelby and Frederick Gans, Isaac Mizrahi and Arnold Germer, Howard Gilman Foundation, Elizabeth Amy Liebman, Nicholas Ma and William Lopez, The Pierre and Tana Matisse Foundation, Suzanne Berman and Timothy J. McClimon, McDermott, Will & Emery, The Andrew W. Mellon Foundation, Meyer Sound/Helen and John Meyer, Mark Morris, Harris A.
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The Nutcracker by Jennifer Fisher Created in 1892, during a golden age of classical children could also be classically rigorous and ballet in Russia, The Nutcracker might have rapturously beautiful. remained one of Tchaikovsky’s lesser-known ballets if not for its virtual immigration to the Although Anna Pavlova had toured the U.S. in United States. The first Russian critics found the early 20th century with a ballet called plenty to dislike, though they did praise parts of “Snowflakes,” using Nutcracker music, two very the choreography by Lev Ivanov, when the different abbreviated 1940 versions laid more ballet was presented at the Imperial Theatre in significant groundwork for the annual St. Petersburg. The plot was thought too child- Nutcracker phenomenon. The Ballet Russe de centered and implausible, given that it centers Monte Carlo criss-crossed the country with a on an ordinary Christmas gift that leads to a popular one-act Nutcracker suite (selections journey through glittering fantasy lands; and from the ballet arranged by Alexandra there were thought to be too many decorative Federova) in their repertoire. Starting the same special effects. In the United States, however, year, American audiences could also see the these very qualities appealed to an aspirational, Disney film Fantasia, with a whole section of democratic nation that was still culturally animated flowers and falling leaves swirling to young. After the first evening-length American Nutcracker selections. For audiences unfamiliar production at the San Francisco Ballet (1944, by with classical ballet, the popular Ballet Russe Willam Christensen) and then the influential and Disney’s animated version of dancers New York City Ballet version (1954, by George provided an unthreatening introduction to the Balanchine), the annual Nutcracker aesthetics of the art form.
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