Author: alexnorm14

Theater Reviewer and Freelance Writer

REVIEW: This is not a Murder Mystery

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Rating: 4 out of 5.

Wild accusations, wit, and a little dash of murder… or not.

This Is Not a Murder Mystery is a strangely entertaining affair. Three aging starlets and a lesser known director prepare for opening night in Peter Rae’s genre-bending new play. Well-written and wonderfully performed, This Is Not a Murder Mystery will have you rolling with laughter. 

A beautiful set, it invited the audience into the backstage world of This Is Not a Murder Mystery. There are little touches across the stage that really make it feel like a true dressing room. The hanging flowers across the back were especially pleasant. The show’s lighting was nothing fancy which made perfect sense for the story. 

Jonny Davidson as Director Sebastian Fawn gave off a manic energy that overwhelmed what could have been a decent performance. James Mackay was cute, if forgettable, as young James Maguffin. Peter Rae gave an oddly engaging performance in his role. He was both ridiculous and intriguing, making an interesting addition to the menagerie of characters. 

The three leading ladies, Helen Bang, Rosalind Blessed, and Laura Morgan carried the show. Each created a unique and memorable character, but it was the relationship between the three that made it so captivating. Helen Bang delighted as Elizabeth Treasure; her aloof otherworldliness was enchanting. Rosalind Blessed gave a powerhouse performance as one-time cult TV-icon Angelica Finchley-Power. There was something in the subtlety of her expressions and the sly delivery of her lines that oozed sex and power. Laura Morgan’s Sheila-Jayne Punnock mixed vulgarity and humor in a surprisingly charming way. Collectively, the women captivate with their chaotic back and forth. 

This Is Not a Murder Mystery has a lot more play than plot. Though there is a story with satisfying payoff, the banter between the characters is what carries the show. The first act feels somewhat decorative; though it sets up more than a few jokes for the second act, it doesn’t illuminate any path by which the story may progress. With the slightest modifications, act two could have stood alone. 

The entire show had a not-unpleasant, kitschy sitcom feel. The script itself is full of golden nuggets, zingy one-liners that hit the mark every time, but it tries too hard to be poignant. 

The characters, especially in the first half, frequently go off on tangents trying to make social commentary out of what should be a simple comedy. There is a lot of potential but it needs to be refined and refocused. Rae has created fascinating characters and the story’s eventual resolution is thoroughly satisfying. I especially enjoyed the echoes of Abbott and Costello’s Who’s on First trickled throughout. Not perfect, but not far off, This Is Not a Murder Mystery delights and entertains. Big personalities, brilliant banter and a touch of mystery; what more could you want?

REVIEW: Scenes with girls

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Rating: 4 out of 5.

It’s the type of show that challenges your ideas and makes you uncomfortable

T. Regina Theatre Co’s Scenes with girls is a fascinatingly frustrating work of modern theatre. Mariam Battye’s original play is a unique exploration of love and identity under the strain of societal expectations. Confusing, irritating, and uncomfortably honest, Scenes with girls speaks to the heart.

Lou and Tosh: roommates, best friends, absolute pricks. But also a brilliant depiction of female friendship. I always find that the trademark of a good show is relatable characters. Scenes with girls definitely has that. Hannah Renar as the adventurous, sex-addicted Lou, Lindsey Ruiz as the radical celibate Tosh, and Elinor Rose-Cooper as poor little Fran. It is an irritating show only because of the very realistic obnoxiousness of the leading ladies. 

I can’t really fault any of the acting. Each woman created a distintive character in such a way that made it difficult to separate the actress from the character. Hannah Renar’s performance as Lou was marvelously chaotic; she was a lot but so was her character. Her performance was very physical and her comedic delivery was brilliant. Lindsey Ruiz is a good actress but Tosh was so unlikeable that I find it difficult to properly critique. Her dry humor and off-kilter manner did draw you in but her unnecessarily loud delivery of certain lines was jarring. Elinor Rose-Cooper was perfectly pitiful as Fran. Her role was smaller than Lou and Tosh, but she was the only likeable character to grace the stage. 

Mariam Battye’s script tries too hard. It is full of wonderful moments but they’re scattered between an excess of theory offered up as social commentary. The fast pace kept the audience engaged but didn’t allow the opportunity for the full emotional impact. Perhaps it was intentional, but I struggled to be drawn into the story because I was so confused for the first half. The sporadic and sometimes erratic bouts of dialogue helped to build the characters, but confused the plot. When it did finally offer a complete scene, it came like water on a hot summers day. The clarity was a much needed respite from the chaos of the introduction. 

Every technical aspect of Scenes with girls was intentional and effective. Sans one wow moment that you’ll have to see for yourself, Phil Hamilton’s lighting was extremely simple, on and off. Every change was purposeful and exactly what the show needed.

The set was a mess but it made perfect sense. It would take me a while to count the number of rugs and card games scattered about the space, but it looked lived in just as it should. I particularly enjoyed the design of the restroom area and its use throughout.

Scenes with girls is an interesting theatre piece but the plot and the characters are so frustrating that I want to be able to say I disliked it. But I can’t. It’s the type of show that challenges your ideas and makes you uncomfortable. Isn’t that what good theatre is meant to do?

REVIEW: Snow White

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Rating: 3.5 out of 5.

“So much potential, so little polish.”

BalletLORENT’s Snow White is visually captivating but fails to achieve its full potential. Immersed in this fairytale world, viewers’ bear witness as vanity drives the Queen to unthinkable darkness. Following Snow White into a new life with the local Miners’, this reimagining is charming but lacks maturity in both movement and performance.

Liv Lorent and Carol Ann Duffy’s updated narrative is memorably unnerving while also being inviting and amusing. It leans into the Grimm origins of the story and keeps the audience on its toes. The narrative dialogue is relevant, well-timed, and well-written. There are several very intelligent alterations to the familiar story that make it more palatable to modern viewers. The ending feels rushed and insufficiently thought out,
disappointing given the overall success of the story. Phil Eddolls, Set Designer, is a genius. Eddolls’ set is of the highest calibre being both aesthetically and functionally astounding. Just one set piece brought the Queen’s castle, the dark woods, and the whimsical home of the Miners to life. Malcolm Rippeths’ lighting design brilliantly signified the passage of time, making the eighteen year timeline flow seamlessly. Costume Designer’s Libby El-Alfy and Nasir Mazhar impressed with their simple yet beautiful designs. Their reflective Mirror creation was particularly memorable.

There is a charming, childlike quality to the Snow White choreography with eye catching moments such as the Queen and the Mirror duet. Lorent did excel in choreographing the use of the set and props. Every use of the set was purposeful and added to the story. Unfortunately the movement lacked cohesion and the ensemble work was never clean. Overall, Liv Lorent’s choreography disappointed. There was interesting, if limited, phrase work, notably the King’s death and the Huntsman’s solo.

If I were told that the dancer’s improvised the entire show, I would wholeheartedly believe it. It felt more like pictures strung together than a complete dance theatre piece. The cast of Snow White exuded personality. The ensemble cast was very lively but did suffer some shortcomings in technique and timing. Every dancer had their own distinct style which was lovely but often pushed them out of sync. Virginia Scudeletti delighted as Snow White. Her spritely fluidity and naivete were well-suited to the young princess; her characterization did lack some depth, especially in the second act. Caroline Reece gave a haunting but somewhat flat performance as the Queen. Technically remarkable, she exuded grace but held the same slightly off-kilter expression for the majority of the performance. John Kendall gave a captivating and swoon-worthy performance as the Huntsman. It’s fitting that the shining star of this story be the Mirror. Danced by Aisha Naamani, the Mirror was remarkable in costume, choreography, and quality of movement. Despite not being able to see her face, Naamani’s emotions and intentions were fully visible in all of her movements. A brilliantly designed role danced by a brilliant dancer.

An interesting and well-designed concept that wasn’t executed to the best of its ability. It has a messy, improvised quality that would brilliantly suit a panto but is disconcerting in a piece of this kind. Despite some choreographic and performance pitfalls, BalletLORENT’s Snow White is an enjoyable physical theatre.

REVIEW: Plied & Prejudice

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Rating: 4 out of 5.

Raise a glass to Jane Austen at her strangest.

Plied & Prejudice is anything but traditional. Classic literature and alcohol: What more could you want? Not so much a show as a party, this chaotic take on Pride & Prejudice will have you rolling with laughter.

Everyone knows the story of Lizzie Bennet and Mr Darcy but few have ever seen it this raw. Woodward Productions has flipped the script on this classy tale, turning it into a horribly amusing celebration of chaos and debauchery. Though sticking to the original narrative, it comes across more like a standup comedy show; the actors laugh themselves into fits, viewers become characters, and a waltz takes a stylistic turn after a suggestion from the audience.

Plied & Prejudice’s uncompromising commitment to debauchery is somewhat overwhelming. It is a very in-your-face show, lacking subtlety so that it’s sometimes crass and uncomfortable. This is a matter of taste, but if you come into the show expecting a charmingly amusing adaption you may be surprised at what you find.

 From the moment you enter The Vaults you are transported to another time and place. Topiaries, portraits, and charming dandies greet you as you enter the party hall which boasts incredible decor not the least of which being the beautiful bar upon which the musicians stand. Grab a drink in the pre show and then head into the ‘ballroom’ where the show will begin. This set is just as impressive as the entry room and the perfect setting for the performance.
How many actors does it take to tell a 20 person story? Five apparently. Every actor tackled a number of roles and did it brilliantly. Monique Sallé delighted as both Jane Bennet and Caroline Bingley, creating two distinct and memorable characters. Timothy Walker brooded with the best of them as Mr Darcy, but was unforgettable in his portrayal of the younger three Bennet sisters. Brigitte Freeme is perfect as Lizzie Bennet; with her biting wit and charmingly expressive face, it’s no wonder Mr Darcy fell for her. Emma Andreatta is a comedic marvel as the overzealous, often drunk, Mrs Bennet and the uppity Lady Catherine de Bourgh. Undoubtedly, Andrew MacMilan gave the standout performance of the evening. Wonderfully sweet as the hyperactive, somewhat gay, Mr Bingley his switch to the slimey Mr Collins was incredible. The creepy, lisping snake like creature that he embodied was disturbing and disgusting but the perfect portrayal of this character.

There is nothing traditional about this experience but it comes down to a matter of personal taste. For those who prefer refined, structured theatre this is not the one for you; but if you enjoy a drink and a laugh and a lot of weird, you’ll enjoyPlied & Prejudice.

REVIEW: Twice-Born

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Rating: 5 out of 5.

No work of art has ever compared to the magnificence of Twice-Born

Twice-Born is a masterpiece. From the mind of Dickson Mbi, this epic tale tells of another world where matriarchs are made through sacrifice. Set to Mbi’s original scores and performed by the dancers of the Scottish Ballet, it is a powerful tale that consumes the heart and mind.

When the curtain goes up, the audience is immediately thrown into the world of Twice-Born. A towering wall of rock looms large while a single dancer, faintly lit, lays at its base. This, and many of the striking visuals in this show are thanks to set designer Ruby Law, lighting designers Jessica Hung and Han Yun, and costume designer Debbie Duru. Laws’ set is indistinguishable from genuine stone, adding an impressive degree of realism. The lighting is so perfectly matched to the story that you often forget it’s there yet the show would be drastically different without it. At their base, the costumes were simple, their dusty crimson shade and draping silhouette added to the tribal atmosphere. As the show progressed, smaller design elements were added that altered the whole vibe; I don’t wish to spoil anything, but i must applaud the villainous masks for their striking beauty.

Dickson Mbi is a once in a generation talent. Not only did he conceptualize and direct Twice-Born, he also choreographed it and composed the scores. The story doesn’t feel like scenes strung together, but rather like a journey of the soul. Using tribal elements, his compositions are intense and powerful; they are the perfect soundtrack. His choreography clearly reflects his contemporary and popping background. The force and intricacy of the choreography is very visually impactful. He has crafted movement that embodies his story. His depiction of grief is the finest I have ever seen; haunting and tragic, I lack the words to explain its power but it will never leave my mind.

Scottish Ballet never disappoints with their incredible dancers, but Twice-Born may be the finest work they’ve ever produced. For what is a ballet company, there was an astounding amount of grit in their performance. They moved as one, giving the sense of a teeming tribal mass that was both frightening and thrilling. For a ballet company, they were amazingly un-pretty in the best of ways. Soloists Marge Hendrick and Rishan Benjamin were enthralling; they are the strongest of women and of dancers. Included in that appreciation must be the soloist who-led the sacrifice sequence, though I have been unable to find her name. While technically excellent, it was the depth of emotion with which they performed that makes them unforgettable.

To watch Twice-Born is to take your heart into your hands. You will experience emotion as you never have before; you will cry, you will sit on the edge of your seat, and you’ll even have to remind yourself to blink. It is a transcendent experience that stays with you long after it has ended. Dickson Mbi and the Scottish Ballet have gifted this world with Twice-Born.

It is not a show, it is a religious experience.

REVIEW: Before I Die

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Rating: 3 out of 5.

A little bit of good, a little bit of bad, but fun for all. 

Everyone in theatre has a list of parts they want to play before they die. Kira Gaudynski and Kelsey Marlowe Jessup took their lists and rolled them into one evening of song. Before I Die: A Musical Theatre Cabaret is two young women’s life stories set to the songs of their dreams. From Wicked to Heathers to Shrek, this cabaret has something for everyone. Despite a few stumbles, it’s a fun and entertaining way to pass an evening. 

Kelsey Marlowe Jessup is a born performer. Her acting (can you call it that when you’re playing yourself?) is very natural, her expressions are subtle but effective and she connects brilliantly with the audience. She is a breathtakingly beautiful singer, effortlessly hitting every note. She is the type of performer who reaches in and touches your heart. Kira Gaudynski has potential but the songs selected for this show didn’t suit her and she often lost the words and the timing. In soprano parts, Kira excelled but the majority of her songs were alto which seemed out of her range and ill-suited to her voice. She lost the words in several of her songs and absolutely butchered “I Say No” from Heathers. As an actress, she is quite enjoyable. Amusing and energetic, with a charming quirkiness that really makes you want to like her. I think she is a talented performer but she failed to design a show suited to her skillset. 

As a duet, Kelsey and Kira were cute. Their energy paired well, creating the sort of kitschy characters you’d find at a standup comedy show. Their voices paired decently enough, but they had timing issues when singing together. Pianist JJ was the force that kept the duets on track. Their closing songs “What I Did For Love” and “Thank You For the Music” were by far their best, though I did thoroughly enjoy their rendition of “The Wizard and I” as each woman made it her own. 

There were a few high points in the evening. Kelsey’s performance of “A Place Called Home” from A Christmas Carol was magical; the intimacy of seeing her direct her words towards her partner standing in the back of the room was so lovely. Also sung by Kelsey, “So Big, So Small” from Dear Evan Hansen had everyone in the room crying including Kelsey herself. It takes talented performers to get an entire theatre singing the way these two did; it was so much fun to hear everyone singing and swaying along. I have to give dues to JJ on piano who spoke a maximum of four times the entire show but had the entire audience laughing each and every time. Before I Die: A Musical Theatre Cabaret is a quirky evening of living out every theatre-nerd’s dream. The show itself is a wonderful idea but it falls short in execution. With more rehearsal and the altering or cutting of certain songs would serve this show well.

REVIEW: The Rite of Spring

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Rating: 5 out of 5.

The type of show you pray will never end.

Dewey Dell’s The Rite of Spring is sensational. A visual wonder, the performance explores the never-ending cycle of life and death against the backdrop of Igor Stravinsky’s dramatic scores. Through consistent experimentation with the metamorphosis of human beings, Dewey Dell has crafted an entirely original style. This is a must-see show.

There is nothing human about The Rite of Spring. Teodora and Agata Castelluci’s choreography pushes the boundaries of contemporary dance. Fusing modern and classical techniques with breaking, they have created an entirely original style perfectly suited to the intensity of Stravinsky’s scores. Their choreography is very shape-based. Individual bodies create photographic moments with the costumes and fabrics, but it is the collective shapes that are most memorable. The four dancers fit together like pieces of a puzzle to build impressive, not quite shapes, but moving creatures. It is strange and at times grotesque, yet you’ll find yourself afraid to blink because it would be a crime to miss even a moment.

The set designer, Lidia Trecento of Laboratorio scenografia Pesaro, and the costume designer, Guoda Jaruševičiūtė of Dewey Dell, deserve awards for their work on The Rite of Spring. Trecento’s set transported the audience to a whole other world, suddenly we were underground with the bugs. Dancers came crawling out of the woodwork, but in Jaruševičiūtė’s costumes they were indistinguishable from the critters they portrayed; the maggot costume was especially realistic, almost disturbingly so when paired with the dancers’ perfect embodiment of the creatures’ physicality.

The dancers of Dewey Dell are extraordinary. Teodora Castellucci, Agata Castellucci, Demetrio Castellucci, and Vito Matera are at the forefront of contemporary dance. From the opening scene, just from the movements of a worm inching across the stage, the strength and muscular control of the cast was apparent. To then have that very Modern soloist followed by a pair of exceptional breakdancers’ was genius. The b-boys were one of the highlights of the show; the speed, the complexity of their choreography, and their playfulness was mesmerizing.

A haze hung in the air, lending the theatre an eerie mystique. This haze would have been a pleasant addition to the show, had the lighting not been as dim as it was for much of the show. While I understand that it is meant to mimic lighting in underground tunnels, it hid some of the finer details and made it so that you had to strain your eyes. Apart from the haze and the occasional painfully loud section of music, there is not a fault within this show.

The Rite of Spring is a transformative experience. Life, death, change, and all that’s in between explored at its most base level. It is intelligent, flawlessly staged, energetically performed, and unnervingly realistic. Dewey Dell have created a modern day masterpiece. Get comfortable being uncomfortable and delve into the mystifying world of Dewey Dell’s The Rite of Spring.

REVIEW: Nurture

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Rating: 4 out of 5.

Short, sharp, and uncomfortable in the best way.

Jacob Ethan Tanner’s Nurture is a stirring psychological study. This original work follows a mother grieving the loss of her child, a journalist with a past of his own, and the man who set it all in motion. Centered on how our experiences shape us and where responsibility lies, it is a uniquely grim and honest work of theater. This is not a show for the faint of heart.

Sam Stafford delivered a haunting performance as ‘The Young Man’. His awkwardness paired perfectly with the disconcerting nature of his character. His portrayal was remarkably vulnerable while also being quite snarky and amusing. Miles Henderson as ‘The Journalist’ was powerful. One of the weak points of Nurture was its somewhat limited emotional impact but Henderson more than made up for it; his performance was brutally honest, making it truly moving. Gabi Martinez made her professional debut as ‘The Mother’, overworked and facing the loss of her child. While seemingly a gifted actress, her performance was off putting; her detached, apathetic characterization did not work and seemed all the worse next to the powerhouse performances of the other two actors.

There were no fancy costumes or sets; it was just three actors, a chair, and the occasional lighting change or sound effect. This simplicity actually improved the show. It enabled the audience to really focus on the characters and what they were saying without being distracted by any extras. The intimate theatre space also helped, allowing the audience to feel drawn in and making Stafford’s breaks of the fourth wall all the more noticeable.

The characters and story of Nurture bring Mary Shelley’s Frankenstein to mind. Like Frankenstein’s monster, ‘The Young Man’ seems to observe human society from the outside, struggling to understand or be a part of it. When he does interact, despite thinking he’s doing the right thing, he frightens and harms people. At its’ root, Tanner’s story is very simple but the perspectives he’s chosen to portray demonstrate a complex
understanding of human beings and suffering. His writing style is mostly very natural but does, at times, lean too much into the spectacular as though in search of that memorable line that’ll stick with the audience for years. While that one line didn’t come through, there is a particularly graphic murder depiction which will stick in my mind simply for its brutality.

Nurture reaches to the root of the human psyche and pulls out more questions than it answers.

REVIEW: Nobodaddy

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Rating: 5 out of 5.

An avant garde masterpiece. 

Michael Keegan-Dolan’s Nobodaddy is mesmerizing. An unusual interpretation of William Blake’s poem of the same name, musicians and dancers come together in this ‘ode to peacemakers and bringers of good things’. I don’t think I’d ever be able to satisfactorily explain the plot, yet I know I loved every moment of it. If you enjoy dance, good music, or just like a little bit of weird, this is the show. 

Keegan-Dolan’s distinctive choreography is perfectly suited to the folk-rock music against which Nobodaddy is set. He’s crafted something that is unusual, rhythmic and playful. He incorporates aspects of the best of modern dance, one particular solo being very reminiscent of Lucinda Childs’s Carnation. His partnering is especially remarkable; it is athletic and heavy and a million miles away from traditional. 

The phrases have clearly been crafted for the dancers; solos and duets highlight each of the nine dancer’s movement style and they retain their individual artistry even during ensemble work. The choreography is joyous and fun but the faces of the performers rarely change and don’t express joy till near the end. There is a fascinating contrast between their expression and movement, making for a queer experience. 

Every dancer and musician brings themself to this performance. Rather than melding into an uniform collective, they fit together like pieces of a puzzle. The musicians and dancers have this sensational connection like limbs of a single being. There is a scene early on where three musicians command a dancer; the eye contact and vigor of the music floods the theatre with a palpable tension. 

The simple set is impactfully used, with dancers and musicians appearing on top of, hanging from, and inside the various pieces. The lighting design, by Adam Silverman, fits faultlessly into the performance. Doey Lüthi’s costuming choices are genius. Their work brings the show together; the masks worn in the beginning are wonderfully strange and the choice of the 80s-esque suits completes the odd experience. 

The music of Nobodaddy is beyond reproach. Sam Amidon and the collaborators who arranged and performed the music crafted an undeniably enjoyable auditory experience. Folk-rock plays with classical and choral. Amidon’s vocals are folksy and emotive, hauntingly so when melded with the beautiful vocals of the bassist. I enjoyed the choral numbers which used the entire cast; the entire theatre held its breath to listen. 

Watching Nobodaddy feels like stepping into uncanny valley. It begins with nothing overtly unusual apart from the lines of masked individuals along either side of the stage. The first few scenes are all rather mundane but they employ a queer sort of dry humour. There’s an undercurrent flowing through it all, like you’re waiting for something to happen. It is disconcerting but also mesmerizing; that is perhaps the best way to explain the show. 

Nobodaddy is remarkably and wonderfully weird.

The Nutcracker and I, by Alexandra Dariescu, choreographed by Jenna Lee with animations on a gauze screen featuring ballerinaÊDŽsirŽe Ballantyne atÊMilton Court Concert Hall, Guildhall School of Music & Drama as part of their Alumni Recital Series on Tuesday 19th December. Picture by Nigel Norrington. Mobile 07930 336261 The animations are by Yeast Culture

REVIEW: The Nutcracker and I

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Rating: 4.5 out of 5.

An interesting, modern take on the Christmas classic.

A single spotlight opens on a woman in a red dress sitting at a piano with her back to the audience; snow begins to fall. Instantly you’re captivated. That is how The Nutcracker and I begins.

The Nutcracker traditionally requires dozens of dancers, a full orchestra, and intricate costumes and sets; The Nutcracker and I is the short and sweet version. It condenses the massive show into a pianist, a ballerina, and a projector. This shortened version includes the most recognizable and beloved pieces from Tchaikovsky’s ballet: ‘Dance of the Sugar Plum Fairy’, ‘Arabian Dancé’, ‘Waltz of the Flowers’ and many more.

Pianist and Producer, Alexandra Dariescu is the highlight of this performance. Tchaikovsky’s music flowed effortlessly from her fingers to the piano. It is as though she and the keys were partners in some intricate pas de deux. Her fingers danced across the keys and the energy carried throughout her whole body. Though her back was to us, her strength and grace was evident. I applaud her for the selection of that backless red dress.

Ballerina, Imogen Ash is an exquisite performer. She embodies Clara’s childish playfulness and interacts with the projections just as easily as if they were physical dancers. While technically sound, she did suffer from a few wobbles and seemed to drop off her relève too quickly at times. Her jumps also left something to be desired; she did not find any suspension in the air, instead seeming to rush to and emphasize the landing as opposed to the jump itself. It was unfortunate that the lovely lightness of her expression did not translate into her dancing. This wouldn’t be a very thorough review if I didn’t talk about the state-of-the-art animations and digital effects that set this show apart from all other renditions of The Nutcracker.

Projections are used to convey Clara’s journey and all those she encounters. The art style is charming and especially stunning in how the backgrounds are drawn. The projected dancers are a wonder. Never did I think that I’d be complimenting the technique of an animation but these were flawless. No two animations were alike yet all were exquisite; their individuality lended them a human feel which allowed you to forget that there weren’t really dancers in front of you. The Arabian Coffee number was by far the most visually striking. Sometimes the animations seemed slightly off the music and stilted. There were also points where Imogen Ash and the animations fell out of sync. What was lovely was the way Ash and pianist Dariescu partnered with the projections and played off their energy as they would with live dancers.

The Nutcracker and I is a perfect family show. It’s short enough to hold the little ones attention and intricate and artful enough to captivate all ages. If you’re looking for a show this holiday season, The Nutcracker and I is the way to go.