Experiencing the annual production of “The Nutcracker” by the Maine State Ballet has proved to be one of the best ways to (re)connect with the holiday spirit. A tribute to color, form, beauty and grace, the MSB production has traditionally put everything, including most of its student body, into creating a special experience for young and old.

Kicking off its 40th anniversary run of the classic Russian ballet on Friday afternoon, the company again charmed and delighted, not only with its beautiful set pieces but with some dazzling dance movement by the more experienced members of the cast.

There will be some swapping of lead roles from performance to performance, but for the opening Elizabeth Dragoni took the role of Clara, a young girl who has quite a wild time after receiving the gift of a nutcracker that magically comes to life in the wee hours of Christmas. With nice touches of pantomime and much gracefully executed dance, Dragoni conveyed the excitement of a girl discovering a bit of romance while encountering a world full of wonder.

Nathaniel Dombek was her Nutcracker Prince. First dramatically repelling an attack by some way-too-cute mice in front of the giant Christmas Tree, Dombek then framed his work with Dragoni with an assurance which perfectly set off that ballerina’s delicate manner. His muscular turns earned an early ovation from the rapt crowd.

One little voice in the audience was heard to ask, “Is that real?” when snow began to fall from the rafters upon the swirling ensemble of dancing Snowflakes below. It was a treat to see, though it must be noted that there was some tentativeness of movement here and in a few other spots on Friday.

Act II got off to a delightful start with the illuminated wings of little Christmas Angels leading to a first appearance by Rhiannon Pelletier as the Sugar Plum Fairy. After waving her wand while seeming to float across the stage, she and her large contingent of Pages welcomed Clara and her Prince to a diverse and dazzling sequence of mini-performances.

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Among the highlights of these divertissements were Adrienne Pelletier, with support from Glenn Davis, giving new definition to the word flexible in Coffee from Arabia. Robert Shelley took over the stage as the high-energy Russian Cossack. Ron Trell got to ham it up as Mother Ginger and Veronica Druchniak rewarded close attention with an assured and captivating performance as Dewdrop.

In closing, Rhiannon Pelletier and Dombek offered a slightly abbreviated Grand Pas de Deux that nonetheless gave each a chance to reveal their considerable talents within the classically derived choreography by Linda MacArthur Miele.

The colorful and remarkably detailed costumes by Gail Csoboth were well lit by David Herrman. The rich music by Tchaikovsky, enlivened by an orchestra conducted by Karla M. Kelley Brenner, helped propel this fine production straight into the heart of the holiday season.

Steve Feeney is a freelance writer who lives in Portland.


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