Rosecliff Mansion, Newport, RI.
November 26, 2025.
This Nutcracker was made for this space, Rosecliff Mansion, Newport Contemporary Ballet Artistic Director Danielle Genest affirmed in her “curtain” speech – made 25 years ago by Eva Marie Pacheco, Michael Bolger, and Miki Ohlsen. At this milestone anniversary, the company has reconceptualized the second act, to make it even more truly Newport, Genest explained.
And the company thoroughly delivered on that; the second act burst with fresh, enticing reimaginings of the traditional Nutcracker Land of Sweets variations, each uniquely Newport (with memorable new costumes from Deanna Gerde).
The Nutcracker being shared tradition is a lovely thing about it – yet why not mix up tradition, each company adding their own character and identity? Why not keep it new, exciting, and ultimately timeless? Newport Contemporary Ballet has done just that with its reimagined 25th anniversary offering of the holiday classic.
The overture filled the space, kicking off the magic and setting the stage for the party guests’ anticipatory excitement. Seeing this opening night performance on Thanksgiving Eve, this moment of building excitement and joy felt like a very special beginning of holiday cheer.
The party scene in the grand Rosecliff ballroom brought the intimate luster and wonder that it does every year; being right up close at the party brings the audience into the little moments of drama that make it feel keenly lifelike. Various characters added their own unique flair, creating a further sense of this being a group of dynamic individuals.
Tyler Diggs danced Drosselmeyer with a smooth mysteriousness that felt just right for the character. Abigail Molina as Ballerina Doll danced with equal parts innocent sweetness and rigorous technical precision. Amelia Bednar as Sailor Doll, with a navel-inspired costume, brought power and exactness befitting strict military standards but also kept the accessibility and fun of a toy brought to life.
Eva Gail Mulrooney as Tess Oelrichs (NCB’s Clara) moved with mature length and power, and the sweetness of an enchanted young lady. Apprentice Mia Nolte (new to the company this year) danced Rat Queen with an explosive abandon perfect for the character, and which also has me looking forward to seeing her grow as an artist with the company.
The delightful Battle Scene with the rats (older students) and mice (younger students) seemed like one of the elements the company keeps from year to year because it simply works; humorous touches, such as throwing cheese blocks, make a potentially scary scene truly enjoyable for the whole family.
Snow was as ethereal and enchanting as ever. The easy grace with which dancers handle this variation’s demands of athleticism and stamina: it always astounds me! The Snow Queen and King Margot Aknin and Josh Thake offered an elegance as natural as the shine of newly fallen snow. Just as with lighting throughout the show (by Stephen Petrilli), the projections of silvery sparkles on the white back wall of the ballroom contributed to my immersion in the magical world before me.
The Rose Attendants, fully filling the stage with lovely poise and grace, brought us into Act II. Lauren Difede as the Rose Fairy (a new kind of Sugarplum Fairy) presented the epitome of such poise, wrapped with a warm smile and inviting presence. She danced with just a dash of stately confidence, a pinch of something a just bit more regal, with her following solo variation. All of those qualities were the perfect mix for becoming captivated by the intriguing character.
“Easton’s Beachgoers” was the first of the Nutcracker cultural variations that Newport Contemporary Ballet has reconceptualized this year to make it uniquely Newport. Grace Byars and Josh Thake – wearing stylish, vibrantly colorful swimwear of the Gilded Age – danced swimming motions and lifts embodying ocean waves. Their joyful performance quality felt like the easy brightness of a perfect summer day on the beach.
“Bellevue House Koi Fish”, danced by Margot Aknin and Sarah Murphy, made visceral the allure of these exotic fish. Their red and orange hand-held streamers rippled just as softly as koi fish fins, effortlessly moving through these creatures’ element. Aknin and Murphy brought all that intrigue and natural beauty to life through their artistry. Mia Nolte danced the lead of “Oysters and Pearls” with sweet elan, supported by a trusty group of younger performers. Her small jumps and quick lines wholly met the score’s luminosity.
“A Trio for Tennis” (with Amelia Bednar, Abigail Molina and Ken Shiozawa) offered all of the sophistication of a Tennis Hall of Fame match, with tennis movements to boot. Their stage patterns reflected considered, skillful athleticism, and a joint serving motion on the last note a unification within that endeavor (as well as being plain satisfying!).
The high-flying Harbor Regatta brought a sailor’s twist to this always jaw-droppingly athletic variation; costumes were in navel stripes, just as the Sailor Doll of Act I, also with angular sailor’s hats. Tyler Diggs danced with a satisfying sense of attack, yet also sensitive receptivity. I look forward to watching him grow with the company as well.
“Mother Nature” (Bethany Peterson) danced with her Butterflies and Bees, the varied ensemble (also with Tess) embodying nature’s harmony. The young dancers offered such lovely joy and performance presence that I had one of those treasured “I have genuine hope for the next generation” moments.
The Flowers began their dance with a movement that signified wrapping leaves over Tess – as if in protection, perhaps a bestowing of their organic grace. Embodying Newport’s famed hydrangea bushes, as a reconceptualization of Dew Drop, Jenna Torgeson performed with soothing joy – a calm bliss in her every moving moment.
The floral ensemble, with green bodices and long skirts of varied colors, moved as a multi-colored garden. Their patterns across the stage gave a sense of flowers in a garden swaying side-to-side in a gentle breeze. Surrounding Tess in a half-circle again to end the variation, they re-conferred on her their protection and grace.
The athletic artistry again peaked with the Grand Pas de Deux. Just as characterized the company’s Season 44 Opener two months ago, Lauren Difede and Nathan Crewe-Kluge danced with the unspoken knowing of colleagues who’ve danced together for years. They very much met this variation’s call for regal, classical majesty.
The finale of the whole magical realm united – always bursting with joyful dynamism – moved into the Rose Fairy placing the Nutcracker where Tess could receive it upon waking. We saw that, with all of the expected excitement of a young girl being reunited with a favorite toy. She then ran off, holding it up high and ready to adore it.
This is how the company’s Nutcracker typically ends – yet another of those elements that seems to remain because it works! Thoughtful artistry involves keeping what works and refining, even completely taking back to the drawing board, what doesn’t – or any approach along that spectrum. What matters is what serves the work, the artist, and the audience.
With a fresh reconceptualizing of much of their Newport Nutcracker, to make it truly unique to them and their home, this company has done just that. I hope to see more dance organizations taking a page out of their book, and – as always – what else this company has to present next. Until then!
By Kathryn Boland of Dance Informa.
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