Review By M.T. Bennett, Front Row Reviewers
Utah Metropolitan Ballet’s The Nutcracker delivers a richly layered holiday experience that balances tradition with personality. The audience is given a production that feels alive with intention. From its opening moments to its final bow, the performance unfolds with clarity, warmth, and a deep respect for storytelling through movement.
Speaking of its opening moments, the production benefits from the talents of conductor Marcel Bowman and the Utah Metropolitan Orchestra Conductor, who deliver a score that feels responsive and expressive. Before the curtain rises, they play the overture with its back and forth motion, building into the story. The music carries weight and nuance, providing a strong rhythmic and emotional foundation that supports the dancers rather than overpowering them.
This cast involves a large number of child performers. Each one is talented and sweet. Eric Ascione as Drosselmeyer embraces his role with his nephew played by William Walkins and it is absolutely adorable. It is fun to see how Walkins really trusts in and follows Ascione. Ascione brings a mischievous sense of mystery to the role, serving as both guide and catalyst to the magic that (sometimes literally) unfolds on stage. I have been blessed to see a number of UMB productions and each time Ascione brings a jocular presence. He always seems to be having as much fun as his characters.
Miriam Williams is fantastic carrying the weight of focus on Clara. She offers a sincere and emotionally open performance, capturing the curiosity and courage at the heart of the story. Her talents shine bravely on the stage with other magnificent and seasoned performers.
Toshihiro Harada’s Nutcracker embodies strength but still feels like a toy that has come to life. The battle scene gains momentum thanks to Parker Niksich’s comical and lethal Mouse King. The melodramatic mice are always one of my favorite parts of The Nutcracker and UMB’s draw many laughs from the audience.
Like many of the male performers, Harada plays several roles. His Russian dance got huge reactions from the crowd and each side leap raises the energy in the room. If Harada ever got his DNA tested I would bet he is the descendent of the Greek God Hermes. I have no other way to explain the unrealistic heights he achieves other than he must have wings on his ankles like Hermes.
The winter sequence stands out for its cohesion and grace. This cool blue scene is a perfect transition from the warm Christmas party to the lavish world parade in Act II. Sydney Lee as the Snow Queen and Ryan Hatch’s Snow Prince lead the ensemble with poise. Their entrance is grand, their movements crisp and expansive, the Snow Drops glide and float in the fog, setting a tone of quiet majesty that carries the audience into the dreamlike second act.
In the Land of Sweets, elegance takes center stage. Hallie Jo Carvajal’s Sugar Plum Fairy dances with precision and musical sensitivity, her movement controlled yet luminous. Carvajal is a singular and special talent. Partnered with another monumental performer, Matteo Garattoni who plays several roles including the Cavalier. The pair shares a refined connection that highlights balance, trust, and classical form. Adding levity to the act is Ryan Richardson’s Madam Ginger, whose performance brings humor and character without disrupting the flow of the production. Many other performances continue to elevate this incredible production. Alyssa Reid’s English Tea dance and the waltz of the flowers by Juliette McLaughlin and Parker Niksich highlight the wealth of talent at UMB.
The foundation of the evening rests on the work of choreographer Jacqueline P. Colledge, whose approach allows classical structure to breathe. The choreography flows seamlessly from scene to scene. Each of the ensemble dancers have purpose while allowing principal roles to emerge naturally from the narrative. Each act feels thoughtfully shaped, guiding the audience through the whimsy of this timeless childhood tale without ever feeling rushed or overstated, which, in ballet, is a fine line. College walks it effortlessly.
The visual world of the ballet is immediately inviting. Cassandra Barney who is in charge of Scenic/Costume Design crafts an environment that feels immersive without overwhelming the dancers. In Act II the curtain rose and I heard a voice in the audience gasp and say, “wow…look at that set!” Costumes enhance character and mood rather than compete for attention, with each one feeling unique and perfectly suited to the character.
Lighting plays a subtle yet powerful role in shaping the atmosphere. Lighting Designer’s Marianne Ohran uses shifts in tone and intensity to define emotional beats, whether illuminating the warmth of the opening party or evoking the cool enchantment of the winter scenes. The lighting never draws focus away from the dancers, instead guiding the audience’s eye and reinforcing the arc of each moment.
Overall, Utah Metropolitan Ballet’s The Nutcracker succeeds by focusing on cohesion. Design, choreography, music, and performance work together and the result is a production that feels intentional, heartfelt, and thoughtfully crafted. It serves as a reminder that holiday classics endure not because they repeat themselves, but because artists continue to approach them with care, discipline, and genuine joy, much to the delight of their enthusiastic audiences.
Utah Metropolitan Ballet presents Nutcracker, story by E.T.A. Hoffmann, music by Pyotr Ilyich Tchaikovsky.
Covey Center for the Arts, 425 West Center, Provo UT 84601
December 12-20, Show times vary, see site for individual performance details.
Tickets: $32-$67
Contact: 801-796-7323
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