Boston Ballet’s ‘Nutcracker’ returns for the holiday season
Perdziola’s layered sets and pristine corps highlight the beloved Christmas production
Photo courtesy of Brooke Trisolini/Boston Ballet
Photo courtesy of Brooke Trisolini/Boston Ballet
Mikko Nissinen’s The Nutcracker by Ernesto Galan, with P.I. Tchaikovsky’s The Nutcracker score
Boston Ballet
Directed by Mikko Nissinen
Citizens Opera House
Nov. 28 – Dec. 28, 2025
On Wednesday, Dec. 3, the Boston Ballet’s beloved holiday production of The Nutcracker returned to the Citizens Opera House. From the moment the curtain rose, it was clear that this production would deliver technical excellence and theatrical enchantment in equal measure.
The evening began with a charming prologue featuring young performers and a magician, setting a lighthearted and joyous tone. The strings of the Boston Ballet Orchestra, under conductor Mischa Santora, sounded flawless in these opening moments. While the orchestra’s intonation faltered at times, especially with flutes and the violins’ pizzicato, the group maintained a stable tempo that supported the dancers. A delightful canon explosion ended the scene, drawing laughter from the audience and establishing the production’s playful spirit.
Robert Perdziola’s sets proved to be one of the evening’s greatest triumphs. The reveal of each scene resembled the unwrapping of a carefully layered present, with moving parts that transformed the stage throughout the performance. The party scene’s set featured a magnificent Christmas tree, complete with glowing lights. The production’s use of the entire stage created a sense of expansive wonder, especially during the snow scenes when snowflakes kept falling as the Snow Queen and King performed their elegant duet.
The dancing itself was nothing short of spectacular. The corps de ballet moved in remarkable unison, their movements so synchronized they appeared to breathe as one. Their jumps were incredibly light and stable, defying gravity with apparent ease. Principal dancers brought technical prowess and characterization to their roles. Clara, danced by principal Chisako Oga, was captivating throughout, while Madoka Sugai’s Dew Drop and Ji Young Chae’s Sugar Plum Fairy drew attention for their expressive artistry and musicality.
The production’s sense of humor shone through in unexpected moments. The rats, costumed in elaborate detail, struck diva-like poses that had the audience giggling. The fight over the nutcracker was genuinely funny, with the orchestra beautifully supporting the comedic timing. A jester and ballerina who entertained the family during the party scene added delightful theatrical flourishes, while the canon that eventually strikes down the Rat King provided a satisfying dramatic payoff.
Creative choreography throughout kept the familiar story feeling fresh. The Arabian dance in Act II emerged as a clear crowd favorite, with its fast-paced intensity and heart-racing moves, including breathtaking moments when the female dancer was turned completely upside down. The performance radiated strength and precision, earning enthusiastic applause.
The orchestra delivered Tchaikovsky’s immortal score with generally strong results. The bassoon’s rich, gorgeous tone blended beautifully with the clarinet, while the brass section maintained solid dynamics and subdivision throughout. The harp was particularly beautiful during the Waltz of the Flowers, setting a perfect tempo that allowed the dancers to float across the stage in their lovely flower-adorned costumes. Dana Oakes’ extended trumpet accompaniment during the choral portion of the snow scene deserves special recognition for its contribution. However, the orchestra had occasional stumbles. Sometimes, the strings rushed tied eighth note rhythms, and dotted notes felt hurried in certain places. The first brass entrance during the pas de deux felt oddly placed and disrupted the flow.
On the other hand, the pas de deux showcased pristine dancing, with the Sugar Plum Fairy’s sparkly costume catching the light as she executed careful, deliberate movements. Jeffrey Cirio as the Nutcracker Prince displayed his characteristically beautiful technique alongside the commanding presence of his partners. The string runs during this section were remarkably clean, demonstrating the best of the orchestra’s technical capabilities.
Throughout the evening, the production made excellent use of theatrical elements. A cloud descended from above during the transformation scene, reinforcing the dreamlike quality of Clara’s journey. The production’s visual richness was enhanced by a carriage with reindeers in the snow scene, perfectly synchronized soldiers, and even the appearance of a large rabbit and gingerbread men.
As the final notes sounded and the curtain fell, the audience rose in enthusiastic applause. Boston Ballet’s Nutcracker proved why this production has become an essential part of our holiday season. The combination of stunning sets, exceptional dancing, and Tchaikovsky’s beloved score creates an experience beyond mere entertainment. Most importantly, it shares the pure theatrical magic that appeals to audiences of all ages. For anyone seeking to embrace the holiday spirit, this production remains an absolute must-see.