For many of the Company Dancers The Nutcracker was part of their holidays long before they appeared on the Ballet Austin stage. “I think my biggest Nutcracker tradition growing up [was] being in The Nutcracker” says Chelsea Marie Renner. This is a sentiment shared by nearly all of the dancers. Before they became professional dancers they were each students, living all over the country, dancing in their home studio’s version of The Nutcracker.

 

From their home studio stages to the Long Center, Ballet Austin’s dancers celebrate that The Nutcracker is a valued annual tradition, and work for months to bring this endearing production to life every performance. One of the most well-known and technically difficult sections of Stephen Mills’ choreography of The Nutcracker is “The Waltz of the Flowers.” While artistically challenging, this piece is also dreamy and ethereal, with delicate swishes of the petal-like tutus and a soothing, melodic score. Those dancing in “Flowers” strive to preserve the beauty of this piece, performance after performance.

Courtney Holland who has danced the role of the Soloist in the “Waltz of the Flowers” shares that this particular role “requires a lot of stamina.” She continues, “You want to still have that sweeping, whimsical quality, [but] it starts out slow [so] you have to really pace your breathing.” Maintaining the look and feel of delicate flowers flowing in the wind is its own brand of magic, shared with each audience.

 

Another section of the ballet audiences eagerly await each year is “Trepak.” Appearing in the second act, this work is one of the five divertissements (representing international delicacies of chocolate, coffee, tea, trepak, and marzipan), that Clara encounters in her dreamy journey. “Trepak” is beloved for its energetic music and movement. Max Azaro says, “The role of Trepak is one of the hardest roles I’ve ever done.” He goes on to describe the role as, “completely explosive. It requires lots of strong classical ballet technique and lots of leg stamina.” Fellow Company member Preston Patterson sympathizes and adds, “It’s only a minute long, but when you’re dancing it, it feels more like five minutes.” In order to create the level of energy that “brings down the house” every time, the dancers practice this piece over and over, regardless of what other roles they may be dancing.

 

Ballet Austin Artistic Director/Choreographer Stephen Mills adds, “When you’re bringing something to life that so many people look forward to seeing, you have to put in the work, and the Dancers go above and beyond every year to bring this tradition to our audiences.”