‘Nutcracker’ a near-perfect treat

No one can accuse the current performance by Nevada Ballet Theatre at the Paris Theatre of being just another "Nutcracker." Those who have enjoyed the annual holiday tradition over the past decade or so in Las Vegas have a new reason -- or many -- to dash to the show. Costumes, lighting, choreography and most of the dancers are all new and sparkling. The result is a near-perfect holiday treat.

Artistic director James Canfield worked with choreographer Peter Anastos, scenery and costume designer A. Christina Giannini and lighting creator Nicholas Cavallaro to bring the story of a young girl and her wooden Christmas gift to life. The stage here is wider than the ballet's normal one on the campus of the University of Nevada, Las Vegas, and the extra space is well used to make the always charming show one to remember.

The story, set to the music of Peter Ilyich Tchaikovsky, is still fundamentally the same. Clara, Fritz and their parents are welcoming the season with a festive party. After dancing by partygoers, the mysterious Herr Drosselmeyer (an appropriately theatrical Marcus Bugler) appears and eventually gives Clara (Leigh Hartley; Miranda Jackson at other performances) a nutcracker resembling a toy soldier. After midnight, the soldier comes to life, survives a brush with danger and takes Clara to a snowy wonderland, then a sweet fantasy setting before sending her home.

Here, Cameron Findley (also Jeremy Bannon-Neches) took a bold turn as the title character. Doffing the headgear from seasons past, he was able to move with more grace and agility. Edward Tracz conveyed a bevy of emotions even under the Mouse King head.

Alissa Dale was a vision in a shimmering lilac tutu as a graceful Sugar Plum fairy, and her Cavalier, Grigori Arakelyan, deserves special praise both for his solos and his strong work with Dale.

Jessica Sulikowski, who appears courtesy of Ballet Idaho, (Rebecca Brimhall at other performances) was sinuous and lithe as an Arabian-style dancer with Barrington Lohr, bare-chested in flowing pants, keeping pace and handling complex lifts effortlessly.

The snow scenes were wonderfully winsome. By now, audiences are used to "snow" falling on the dancers each year, but here it was more of a statement, falling for a longer period over a new, glittering winter set.

Some things familiar to local "Nutcracker" devotees have been changed. Fritz (a capable Jayson Randall) is scarcely seen after the first act. Mother Ginger is no more, and the dance traditionally featuring Clara's grandparents has been retooled to focus on more of the dancers onstage. In a somewhat distracting bit of stage business, it's Grandfather (Jamey Gallagher) who becomes tipsy now; Grandmother (Tara Foy here) was the one a little too fond of champagne in previous outings. Still, their brief dance is animated and bright.

There are many changes, though, that should become new traditions. The children dance several fun new roles, including white mice and later, scaled-down complements to the dancers from Spain, China, Arabia, France and Russia. More than a half-dozen older children got to show clever, bright moves as salt water taffy sailors and a set of 10 young angels with long gauzy white gowns and lavish gold headdresses opened the second act, setting an ethereal stage for things to come.

The Flowers were a special vision, with their well-designed moves and their simple yet eye-catching calf-length gowns with rows of pale pink tulle petals transitioning to darker pink, light rose and then darker rose petals at the hem. The petals gently floated as they moved, creating a new attraction for this oh-so-familiar portion of the music.

Prior to the performance, the disembodied voice advising that electronic devices must be silenced also cautions that no one will be seated if they return late from intermission. Considering the distractions of the Paris, and of the Strip, it's an apt warning. Considering the performance, it's a good idea to put those distractions on hold and enjoy this splendor of the season.