Children and adult urchins bustle to keep warm by fires, with Clara watching as she buys from a street vendor. Instead of opening with Clara’s Christmas party, the show opens on a stark, “Christmas Carol”-esque city street. The show’s prologue, an addition that is not in every “Nutcracker” production, provides an interesting social commentary. Yet Clara’s classic nightgown, simple and innocently white, stands out among a sea of complex regalia. The animal characters, large and cartoonish as if they were truly Christmas toys, left the children in the audience giggling.
The snow queen glimmers as if she is truly made of snow. The costume design, also by Perdziola, transports the audience into a festive reverie. A city street transforms into a lavish house party a living room becomes an expansive winter forest. The Boston Ballet pulled off these changes of scenery in a spectacular fashion - the intricately detailed sets designed by Robert Perdziola appear to seamlessly grow and shrink, taking the audience on a journey of massive scale alongside Clara. Clara falls asleep by the light of her Christmas tree and dreams of a magical adventure with the doll, taking her from a fierce battle against the evil Mouse King, to a snowy wonderland led by a regal Snow Queen and King, to a glittery world of candy led by the iconic Sugar Plum Fairy. The 1892 ballet tells the story of Clara, a young girl gifted a nutcracker by her uncle, Herr Drosselmeier, at her family’s grand Christmas party. 26, is an enormous feat of skill that brings new light to the holiday classic. Boston Ballet’s newest production of “The Nutcracker,” which runs at the Citizens Bank Opera House until Dec.
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