Growing up with The Nutcracker

This season, NYCB celebrates the 70th anniversary of George Balanchine's The Nutcracker^®, a production that has become a cherished holiday tradition for the performers as well as audience members of all ages. Each year, the company readies the magical Stahlbaum tree, a plethora of sweet treat-inspired costumes and props, and the little wooden Nutcracker himself—all of which are essential to bringing this delightful story to life. As essential to that process are the dancers who perform each night of the yearly run, whose ranks range not only from brand new members of the corps de ballet to senior principal dancers, but include the littlest movers from the School of American Ballet as well, who take on the roles of angels, soldiers, mice, and more. Though various versions of The Nutcracker play a meaningful role in the development of any ballet dancer, few perform on the same NYCB stage as tiny tots and as professionals—a range of experience that has a formative impact on their careers. We spoke with four such company members about that impact, and what it has meant to them to perform to the beloved Tschaikovsky score throughout their lives.

_{Conversations edited for length and clarity.}

HARRISON COLL

The first time I saw The Nutcracker, I was four years old, sitting on my dad's lap, and he bounced his knees to the tempo of the music and waved my hands like the conductor, which made it very entertaining. He was a musician and trained as a conductor, so he was obsessed with Tschaikovsky and knew each little note. When the curtain came up, I remember looking at every single aspect of the first backdrop and being mesmerized; then, the music started and I was immersed, like when you open a children's book for the first time. That's how I felt throughout the whole show, like it was the best children's book I'd ever read, and I was inside it. I remembered every detail of the show; I kept going back and would look forward to it all year. Whenever I would see the kids, I could imagine myself up there, thinking, “I could totally do that.” I remember seeing the Prince go up in the sled at the end of the ballet, and each year I got more jealous that he was in that sled and I wasn't. I told my mom, “I want to be that kid.” That was it for me. She put me in the School of American Ballet when I was eight years old, and I got to do my first role when I was nine—I was Party Scene boy, second family. I can remember the cast so clearly; I’m still friends with a lot of them. You spend a lot of time together preparing as the children for The Nutcracker—you start as early as late September. Now, as a teacher at SAB, I know how quickly the children's repertory directors are evaluating the kids in their classes. They have an audition, but they are already thinking about who could be disciplined enough. You have to be responsible once they put you on stage by yourself.

I did Party Scene boy for two or three years. One of my earliest memories is of [Principal Dancer] Tyler Angle, who was portraying my "father." There's a part when the girls are doing the lullaby with the Nutcracker, and then the boys charge and interrupt it. They don't do this anymore, but they used to let the parents pick up the kids and bring them over, and Tyler would come and pick me up and throw me into the sky—what felt like two feet in the air. It was so much fun, especially with the excitement of being backstage with the other kids and all of us watching in the wings, obsessed. The supervisors were older students back then, too, so you were listening to their stories about being in The Nutcracker. It was this whole generational evolution.

I was amazed when they picked me to do the Prince when I was 12; I was like, “Oh, crap. This is what I wanted to do.” I took it so seriously. My partner was [actor and former SAB student] Margot Pitts, who was either eight or nine, and I remember being really impatient with her, because it wasn't my first Nutcracker. But we developed a sweet partnership. It worked well, because I was leading her through different things, and guiding her—as the Prince should, onstage. I have so many vivid memories, of the costume flying off of me, walking in the snow, then sitting at the throne, and being backstage and seeing people who were my heroes. They were so tall and wearing these epic costumes, like when the Cavalier came out—I thought he was a superhero.

I was watching a pretty epic crew of dancers; Andrew Veytte and Sterling Hyltin debuted the Cavalier and Sugarplum when I was Prince, and I saw Jennifer Ringer, Yvonne Borree, Wendy Whelan, these major talents, from the best seat in the house. I got posters signed by Nikolaj Hübbe and Damian Woetzel. Sometimes I would try to remember every single piece of choreography. I loved getting to do the pantomime, and getting that applause; I felt like I was a hero in a story. I would forget that I was even onstage. You forget that you're performing when you're listening to Tschaikovsky, wearing Karinska costumes, and dancing Balanchine's choreography. It's amazing.

After joining the company in 2012, I hit the ground running in the first Nutcracker rehearsal. I think I was a Party Scene parent for either the second or the fourth family. It was truly a full-circle moment. I loved having a little relationship with my "son," just like Tyler had with me. That made it so much fun for me, and I wanted the kids to enjoy it as much as they could. Other than parents, I was doing mice, which I loved. It was so goofy and fun, you could really just have a blast onstage with that. I would also do Hot Chocolate. When you first get into the company, you have all the energy. You get a little nervous—you're an apprentice most of the time, so you have to prove yourself a little bit, because you're not dancing a lot in your apprentice year, and this is a real chance to show yourself.

I did Mother Ginger, which was a blast. I got to do Candy Cane, which was my brother's favorite role. When he found out that I was doing Candy Cane, he was like, “Wow, you've made it now. I really believe that you're killing it.” Then it was my turn to do the Cavalier; I was in the corps with my partner, [Soloist] Sarah Adams, who I still partner with. We've done it for, I think, eight years now. Rehearsing that was a dream come true—coming from being the Prince and the little Party Scene boy, after watching it as a four-year-old. Now I'm teaching at the School, and I have this new perspective, watching my students perform—they're calling me Mr. Coll!

Nutcracker has meant so much to me in my career. I would not be a professional dancer without having seen this production—I fell in love with ballet because of this production. And with each year that it goes, I find a new thing that I appreciate about it. No wonder it's one of the greatest productions in the world, because at every level, the dancers are so exquisite and embody Balanchine's aesthetic 70 years later, in a way that I think would make him so proud and so excited; maybe he'd even think that things are happening that he couldn't even imagine were possible.

I would tell new dancers to have fun, enjoy yourselves, and don't worry if you mess up—and if you do mess up, keep going. Be responsible. Listen to your teachers. Don't be loud in the wings and miss the opportunity to watch what's happening onstage. You're performing in George Balanchine's The Nutcracker^®; be respectful of what you're doing. 

SHELBY MANN

Dancing in a children’s role in The Nutcracker was the most amazing experience. I remember being so upset when the season was over, we would all cry. As a child, dancing and performing in The Nutcracker was a dream come true—and still is. I remember when I was in the Party Scene as a child I would not want to be called by my actual name, Shelby, but by the name “Dorris,” which I’d given my character. Even our School director would call me that name so I could really get into character. I was seven years old, so hopefully that explains my reasoning for that funny idea! Since the Party Scene meant so much to me as a child, being a parent this year is really special; I remember how much the company members-as-parents meant to me. It really feels like a full-circle moment.

My appreciation for The Nutcracker has increased over the years. This is not only because I am able to dance such amazing parts as a company member, but now there are those sentimental and nostalgic feelings that I have since I remember how much The Nutcracker meant to me as a child.

There's a great sense of community and coming together during Nutcracker season, not only because it is during the holidays, which always feel ceremonial, but because we are always performing and spending time with one another on and off the stage. The best memories, besides those of the company’s secret “snowflake” tradition, are being able to catch glimpses of friends onstage while you’re dancing. Being able to connect onstage makes the dancing, which is already so exciting, all that much more fun.

MCKENZIE BERNARDINO SOARES

I was eight years old when I first performed in The Nutcracker with New York City Ballet. I was cast as a soldier, and it was one of the most magical experiences of my life. You are only onstage for the Battle Scene, which is quite minimal in comparison to the other children’s parts. However, those few fleeting moments onstage taught me a lot. At eight years old I knew what I wanted to do with my life. I wanted to perform on that stage over and over and over again. My dream came true, and now I get to call that my job.

As a child, every interaction with a company member was almost sacred. It was like meeting a superhero. We looked up to them immensely. All we wanted was to be exactly like them. Every year, the parents from each cast of kids in The Nutcracker would throw us the infamous cast party. This would be towards the end of the run and there would be food, music, and a dance floor. Sometimes at the end of these cast parties, if we were lucky enough, a company member would take the time out of their busy schedule to come say “Hi” to us kids. I vividly remember one year, my now-colleague Harrison Coll came down to greet us. We all loved Harrison because he always took the time to acknowledge us and treat us with such kindness. We were all in line to get a picture with Harrison before he left, and I noticed that the girls ahead of me were all getting pictures with Harrison in a “shoulder sit”—a lift where one dancer lifts the other and places them on their shoulder. I was not expecting Harrison to lift me. But when it was my turn, he could tell that I wanted to be lifted as well. So what did he do: he picked me up and put me right on his shoulder! It made my day. That is a moment I will never forget.

This year I am debuting in the lead couple in the Hot Chocolate divertissement with my partner [Corps de Ballet Member] Malorie Lundgren. It is truly so surreal to say that, because as a child, I idolized everybody who performed this role. Since I was only ever in Act I of The Nutcracker as a child, I would always stay after I was done performing and watch Act II from the monitor downstairs. When each divertissement would come on, the kids would try and perform our own interpretations of the choreography. It would be like another mini-show for our parents. The Hot Chocolate divertissement was my personal favorite. When it would come on I would give it my all, doing my best to emulate the dancers performing onstage. To think that now that dancer onstage is me, and that there are kids looking up to my performances, is so special. My life is eight-year-old Mckenzie’s dream come true.

ROMMIE TOMASINI

The Nutcracker holds a deep sentimental value for me; it’s something I eagerly anticipate every year. During my time at the School of American Ballet, I had the privilege of participating in The Nutcracker for several seasons. My first role in the production was actually my very first performance ever, which made it an unforgettable experience. There’s such a joyful and lively energy backstage that made it truly special. In 2010, when I was eight years old and in my second year at the School, they asked my parents if I would be interested in playing the Bunny in The Nutcracker. The following year, I danced as the first Polichinelle and as a little mouse, but my favorite years were 2012 and 2013 when I got to perform Marie. It felt like a surreal experience, and some of my most cherished memories come from those childhood Nutcracker performances— discovering those little moments of magic that made each show so incredible.

Some of my fondest memories from childhood are the conversations I had with the company members backstage. As a young dancer, I was there for every other performance, and watching the company perform and being a part of the action fueled my passion for ballet. After that, I couldn't stop dreaming about one day dancing as a professional alongside them. It sparked my passion for ballet and played a significant role in my decision to pursue it further.

This year, I’m performing as grandma and Snowflake in Act I, and I alternate between the Tea and Marzipan corps roles at each show. grandma is one of my favorite parts in The Nutcracker because it allows me to connect with the kids in the Party Scene, and it’s a great opportunity for some fun acting. Marzipan, on the other hand, involves a lot of pointe work and is a particularly challenging role due to its technically demanding moments.

To the young dancers joining The Nutcracker cast this year, my advice is to embrace every moment and give it your all. The kids are such a vital part of the production, and the audience is there to see your bright smile and energy shine onstage. Make every moment count!

_{Performance photos of Harrison Coll as the Prince and Candy Cane and Shelby Mann as a Polichinelle © Paul Kolnik; Performance photos of Coll as Herr Drosselmeier, Mann as a Doll, Mckenzie Bernardino Soares (with Mann), and Rommie Tomasini as Snow © Erin Baiano. Backstage photos of Soares and Tomasini courtesy the dancers.}