BOSTON — The costumes are lighter and leaner to showcase new choreography, Herr Drosselmeyer has been sexied up with a silk corduroy tailcoat and shag ’do and there is a fresco of the Sun King in Act II’s Palace of Sweets.
Thanks to skillful work by designer Robert Perdziola, Boston Ballet’s new $3 million version of “Mikko Nissinen’s The Nutcracker” has brought a fresh delicacy and sophistication to the Christmas classic while preserving every ounce of the tradition.
Perdziola’s new sets and costumes, which will make their debut Friday at the Boston Opera House, demonstrate a masterful use of lush detail and a keen understanding of the drama that can be conveyed by an ascot tied a certain way. In fact Perdziola, whose credits span from The Metropolitan Opera to Hollywood, knows his way around an ascot: “Interview witha Vampire” and “The Age of Innocence” are two of his big screen credits.
“We needed to serve the goddess of dance in a new way,” says artistic director Nissinen, describing his goal of eliminating the sugary fizz of the previous production, which premiered in 1995. He asked Perdziola for a more controlled, urbane color palette and sleeker costumes to better reveal the dancers’ bodies, but insisted the final result remain recognizable to the ballet’s considerable fan base.
“When I look at all the ‘Nutcrackers’ that are taking place today, so many productions are about ‘new on new on new’ —almost at the expense of what ‘The Nutcracker’ is about,” Nissinen reflects. “We’ve tried to get back to the heart and roots of why it has survived all these years. I don’t look at this as a revolutionary version, but more like a very well-detailed and researched version.”
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