The Nutcracker

The Nutcracker (1977) ballet starred then 29 year old Michail Baryshnikov who, in 1977, could out do Michael Jordan and Disney's Peter Pan (1952) in the "flying effortlessly" department. Baryshikov and his 1977 dance partner and muse, Gelsey Kirkland, defied gravity when this classic ballet was produced on monster, empty, no-audience TV sound stages in Toronto, Ontario, Canada. The camera didn't lie. Those two really did what viewers can still watch and admire, can still gasp at while smiling in delighted amazement.

Ballet is all about human beings who can fly ......... defy gravity when all is said and done. The best ballet dancers (Baryshikov and Kirkland in the 1977 version of The Nutcracker ballet) do it better than others ...... fly higher, longer, and smoother.

Not many ballet dancers (or people generally) can fly. That was true of the National Ballet Company of Canada supporting dancers who fill out the parts of this show when Baryshikov and Kirkland are not on stage, busy mesmerizing viewers.

Baryshikov and his management staff produced The Nutcracker in Canada on the cheap for TV broadcast. They went over the USA border to Canada where union problems and costs which encumber producers in USA ballet cities (New York City and Los Angeles) were not present, and where a very large, detailed, and gaudy background stage setting could be built on one of Toronto Canada's then huge sound stages.

The result was that Baryshinikov and Kirkland's amazing flying abilities were provided with a much more spacious venue than normal stages in the USA ever offer. The setting in the Nutcracker (1977) was spacious and wonderfully decorated, and the very space and stage decoration of this show became co-stars with the amazing flying dance abilities of the two major stars.

Michail Baryshikov was 29 years old in 1977, and was at the height of his airborne talents.

Baryshikov's choreography in the Arabian dance, Russian dance, Chinese dance segments of the presented ballet is absolutely unparalleled.

The action slows down when Baryshikov and Kirkland are not dancing.

National Ballet Of Canada dancers (probably not paid or rehearsed much for this thrifty dance show) perform for Michail Baryshikov and Gelsey Kirkland.

They are adequate. They are not brilliant or memorable. Not at all as good as the two main stars.

These secondary National Ballet Company Of Canada dancers perform by turns a Spanish dance, an Arabian dance, a Russian dance, a Chinese dance, each performed by a male and female duo. These secondary dancers are not gifted with the sort of precision and therefore the grace of the star dancers, and the contrast is noticeable.

Not to worry, not to gripe.

The chance to see Michail Baryshikov and Gelsey Kirkland dance (fly effortlessly) at the height of their dance careers and abilities is worth the price of admission and the time invested in watching their incredible performances. Never mind about less than ideal "fill in" parts of the show unavoidable because material resources (money!) was limited, and because spectacular dance talent is hard to find, manage, recruit. It's never cheap when it is presented, and the quest for "cheap" explains the shortcomings of this show.

"It's a waste of time to worry over things that they have not! Be thankful for ....................... the things they've got!" (There Is Nothing Like A Dame song from the broadway stage musical 1949 classic, South Pacific). -------------------------- Written by Tex Allen, SAG/AFTRA actor and movie historian. More about Tex Allen and his 119 IMDb movie reviews (as of December 26, 2017) by visiting IMDb.Com and using Tex Allen as search terms. --------------------------------------

As far as I'm concerned you can hardly see 'The Nutcracker' too many times. Here's your chance to see a couple of the greatest dancers of their time, Mikhail Baryshnikov and camera-shy Gelsey Kirkland, in one of the all-time classics. Plus the music of Tchaikovsky is glorious from beginning to end.

Although I am no dancer, I have always taken a big interest in ballet, because I love the music, the stories and the choreography. This is especially true of The Nutcracker and all of the Tchaikovsky ballets.

The story of the ballet is timeless, and I loved the decision they made here to make Clara go on a sort of journey character-wise, starting off as a young girl and maturing throughout. And of course Tchaikovsky's music is outstanding, very sparkling and elegant.

This Nutcracker is wonderful. The only disappointments for me are some muffled sound and some of the sets are rather murky-looking for my tastes, however some of them do look very nice.

Any small faults aside, the costumes are gorgeous, and the camera work and editing are excellent. But what makes this excellent production are the dancing and the leads. This production puts a lot of emphasis on intricate dancing and choreography as has been said before, and this was a decision that paid off and was entirely successful, not just in the duets and group dances but especially in the solo performances, my favourites being the grand party and Kirkland's dance involving jingling bells. As great as Mikhail Barishnikov is here, and he is, very, the star of the show is Gelsey Kirkland, who nails Clara's character and her dancing is just breathtaking.

Overall, a real festive bon bon. If in the want of lavish sets maybe this is not quite the production to sink yourself into first, but if in the want of fine performances and some of the best attention to choreography and dancing you'd want, look no further than this. 9/10 Bethany Cox

by Dane Youssef

Perhaps the best interpretation of "The Nutcracker" ever made. Baryshnikov's finest hour. And as even the most ballet-ignorant know, that bar's set pretty high.

I have seen Mikhail Baryshnikov dance in the much-praised chick-flick "The Turning Point." And I have seen him dance his own interpretation of "Don Quixote." Good. Great, even. But not as much as fellow Russkie ballerino Nureyev's stab at "Quixote." And I have seen much more of him dancing. The man defies gravity, as well as many other laws. A ballet dancer, in the country of America, has been treated like a movie star. But this may very well be his best work, artistic-wise.

Mikhail Baryshnikov is man who hardly needs an introduction, as he is a man who is synonymous with ballet. The man is a household name, Baryshnikov is at his best here, which is more than difficult, even for him. Celebrated USA ballerina Gelsey Kirkland (who was a regular partner and even girlfriend of dear Misha at the time) actually proves to be a credible match. And even takes it to a higher level than he does in HER solo scenes.

This was the first "Nutcracker" I've ever seen. I have seen several interpretations of "The Nutcracker" since then, and this one still stands as the best of the lot. There are no real children in this cast. The children's roles are played by adults in adolescent-looking wigs.

The idea to make this a movie rather than a live stage piece kind of works. It allows for more visual effects than a straight live piece would have.

There is a moment where Ms. Kirkland dances a solo all by herself, that sequence actually left be breathless. When she shakes her pointed feet like bells, the music jingles in pitch-perfect sync. She doesn't seem to be following the music at all. The music seems to be following her.

It's so beautifully and perfectly done, that as someone who takes ballet and has danced on the stage, that it actually hurt to watch.

The day that I can move as gracefully and exquisitely (on her worst day, I mean) may never come. Kirkland actually, in that one scene, manages to steal the movie away from Baryshnikov. Baryshnikov's leaps, turns, jumps and pirouettes are as breathtaking as always, and somehow never seem to get old. Misha's striking presence and Peter Pan-like mobility just.. well, makes you want to get up and dance. Or just jump around. He doesn't so much leap as much as soars.

Baryshnikov puts some little touches of humor here and there. There's a lovable old man at the Christmas Party who attempts to dance and hurts himself, as well as a toy soldier who stubs his toe. Baryshnikov has always seemingly had the soul of a child and the heart of a clown.

The Arabian Coffee Dance has been deleted for running time, I'm sorry to say. As has Mother Gigogne. Not to mention The famed "Waltz Of The Snowflakes" is a powerhouse, the ballet corps sway to the music so beautifully, for the briefest moment, we actually forget about Baryshnikov and Kirkland.

Is Baryshnikov trying to give himself more screen time, Clara or the ballet itself? Alexander Minz proves to be invaluable as a supporting player in the role of Drosselmyer. I was reminded of Fred Astaire. He moves around with his long, willowy limbs in a way that seemed almost inhuman. I seriously doubt ever got half the credit he deserved throughout his life.

He had an effective, amusing cameo in "The Turning Point." Baryshnikov continues to prove time and time again what we already know--the greatest ballet dancer of any generation will always be a Russian.

The choreography is riveting, some of the best I've ever seen. Although, the honor for "World's Greatest" go to "Singin' In The Rain." Maybe the Russian could put dances together now. He's reportedly a great teacher of dance as well.

While many of the special-effects look a bit outdated, it remains a riveting experience. After all, most ballet movies are just filmed dancing and this one takes the effort to actually be something of a movie.

The acting is not much, nor is there as much plot as is traditional, a as this "Nutcracker" focuses more on the dancing and music. The pyrotechnics (the dancer's rapidly-moving muscular limbs and the way they and the music truly gel).

Despite Mr. Baryshnikov in the title role and given prominent first billing, the star of "The Nutcracker" is Gelsey Kirkland as Clara, as this is all Clara's story.

Mnay movies have attempted to translate this legendary dance story to the screen, usually with disastrous results. For example, the mistake the 20th Century Fox movie "George Balanchine's The Nutcracker" made was if they were going to made the ballet into a movie, they should have done something for the movie that they couldn't do for a live production. Alas, they did not. It moved so slowly and the whole movie was so badly-lit, it looked like somebody boot-legged the whole thing with a camcorder.

The solo duets are just as enjoyable. The dancers, are in fact, so good that they almost threaten to outdo the leads.

It's a beautiful story, more with flair and style in it's depth. It's a revised fairy tale.

When Misha and Gels prance together, their body movements almost in perfect parallel... it's beautiful and breath-taking. They seem to be connected internally somehow. These are two people brought-en together by dance. It's every little girl's dream... and that's exactly what the "Nutcracker" should be.

--For Baryshnikov, Kirkland, "The Nutcracker" and Ballet Itself, Dane Youssef

While other film and video productions of the Tchiakovsky classic emphasize pageantry, amazing sets, and holiday warmth, the American Ballet Theater's `Nutcracker' concentrates on strong dancing and intricate choreography. There is consequently much to adore in this production. Gelsey Kirkland, at the prime of her career, and before her drug addiction and battle with anorexia tragically destroyed her dancing talent, plays Clara as a young girl who matures over the course of the ballet. As such, Baryshnikov's version is less a story of a young girl's Christmas dream, and more a coming-of-age tale.

The party scene of `The Nutcracker' is usually a showcase for the children's classes of a ballet company. The Balanchine version, for example, does not really employ any serious dancing until the Waltz of the Snowflakes; most of the first act features children mulling about with their presents. Baryshnikov chose instead to concentrate on adult dancers, turning the Drosselmayer gift sequences in particular into amazingly intricate, well-danced pieces. The Moorish dance stands out as one of the finest, most exciting dances ever to be caught on film.

Unfortunately, this production does have a few weaknesses. The dancers reportedly complained that the television set where it was filmed was too cramped, and that the soundtrack was too slow. Indeed, the sound throughout is awful; there are many more vibrant recordings of the music that could have been used. These dancers are professionals used to working with a live orchestra, and they seem confined by the canned music. The sets are unspectacular and washed-out, making this version perhaps the least exciting for young children; both the NYC Ballet and the Sendak version are more visually stimulating.

Still, for fans of serious dance, this version must be seen. It is still a thrill to watch Baryshnikov and Kirkland perform.