Diminished budget be damned, SB Dance went out on a limb with this year’s annual performance— Drosselmeyer, Inc: The Untold Story of the Nutcracker Ballet—and hired some seriously gifted talent.
Enter Mikhail Baryshnikov.
“Mikhail has been a total professional to work with,” says SB Dance founder and director Stephen Brown. “I thought he would have a little attitude coming into the piece, but he’s been pretty good, pretty good.”
It probably doesn’t hurt that Baryshnikov
doesn’t have a speaking role; of the five
characters that make up Drosselmeyer’s
cast, he’s one of two who doesn’t have lines.
No, Baryshnikov is simply expected to do
what he does best: leap, pirouette and look
broodingly handsome.
It also probably doesn’t hurt that, possibly
due to his age, not much is expected of
the Russian genius. Consequently he moves
about the stage rather stiffly. The fact that
Drosselmeyer’s Baryshnikov is actually a
two-dimensional cutout figure that gets
carried around by the other mute performer
probably has a lot to do with it—not to
mention its affordability and amicability.
“The budget kind of dictated that I do
something a bit smaller,” says Brown. “My
daughter is Nutcracker age now, so I started
seeing it again and thought it would be
fun to play with the back story. I wrote it
as a play because theater is cheaper than
dance. I also wanted to go with a real clear
narrative. I enjoy the writing part of doing
these productions, and it really is me trying
to explore another little part of what I
have inside.”
Brown also wanted to scale the production
back a little bit and see if he could
pull off an entertaining show with just
four people (not to mention the star power
of Baryshnikov). He knew that he wanted
to do a smaller piece after doing fairly
massive, hard-to-handle things the past
couple of years, like Revenge of Yoga the
Musical. In short, he wanted to do something
smaller that could be easily finessed
and fine-tuned.
Drosselmeyer, Inc. is the result of just
such dictates and wants. With minimal
dance numbers and just a couple of musical
numbers, Brown spotlights sock puppets
to tell a bedtime story of sorts about how
three very special nutcrackers scheme to
win the annual Clara Prize. First, there is
the thespian doll named Ham, short for
Hamlet (Paul Mulder). His cohort in
crime is Frenchie (Kim Coté), a doll
with an absolutely mesmerizing voice.
Rounding out the trio is the ubiquitous
dancer doll, Baryshnikov. Joined
by the not-so-special speechless cowboy
doll Tex, they try to figure out a way to beat
the seemingly unbeatable sugarplum fairy,
T. Rot (played by Ballet West’s Kate Crews),
who hasn’t lost the Christmas competition
for 17 years running.
Filled with quick dialogue and even
quicker pacing of a vaudevillian nature,
Drosselmeyer is brimming with the wit
and humor typical of an SB Dance production.
You can always count on abundant
sexual innuendos and the occasional
potty joke delivered with a hint of
philosophical air—think sphincter accidents
and prostate milking.
But what is different about this piece is how tangible the whole thing actually is. In years past, Brown has often tinkered with such abstractly weighty material as Franz Kafka, the myth of Orpheus & Eurydice and the dynamics of intelligent design mixed with inflated science.
“In a lot of ways, I was attracted to narrative theater because there are less places to hide,” says Brown. “You can hide in dance in a lot of ways. You put a pretty body out there moving in space and you have poetic license for about 10 or 15 minutes. On the other hand, we are so used to language and we have such great access to really good acting, really good directing and really good narratives, that when you do something like this you really have a whole different level that you’re playing with.”
It’s a testament to SB Dance that the
company can continually pull off such
broad-ranging material using such varied
delivery methods. They are not really
a dance company; they are not really a
theatre company. They don’t do traditional
work, but they also don’t do particularly
socially conscious work, either. In
fact, according to Brown, they do socially
“unconscious” work.
Such diversity can also read as ambiguity,
and that can make it hard to find
an advocate for that uncategorizable area
SB Dance exists in. That may explain why
the budget issues have come into play so
prominently this year. But the fact that
with Drosselmeyer, Inc SB Dance delivers
a 13th season and 15th full-length production
speaks volumes about Brown’s inexhaustible
creativity and remarkable ability
to surround himself with brilliantly
gifted performers.
And, imagine—he even landed the great
Baryshnikov.
DROSSELMEYER, INC.
Rose Wagner Center Black Box Theatre
138 W. 300 South
801-355-2787
8 p.m., June 19–20
4 p.m., June 21
SBDance.com