Barette Vance was an absolutely spectacular Dewdrop in the 3 p.m. edition of George Balanchine's The Nutcracker, one of the three Saturday performances with which the Pennsylvania Ballet began its annual run at the Academy of Music. Dewdrop is effectively the second female lead, after the Sugarplum Fairy (the latter beautifully danced by Abigail Mentzer). It's in the famous "Waltz of the Flowers" that Dewdrop gets to strut her stuff, and Vance was a technical wonder with an electric presence.

Any decent version of Nutcracker creates theatrical magic, and this production does not disappoint. Its exquisite costumes and sets - revamped in 2007 - remain dazzling. The special effects (growing Christmas tree, falling snow) are superbly executed, and the "cuteness" factor is off the charts - most notably in Act 2, which opens with 12 adorable little girls dressed as angels. But the really impressive thing is how well these mini-angels - and the many other young performers - dance. Kudos to the children and to Christine Cox and Jon Martin, who coached them.

The adults distinguished themselves as well. Just a few years ago, Jermel Johnson was an eager young apprentice who wowed audiences with the height, and apparent effortlessness, of his jumps. As Sugarplum's Cavalier, Johnson demonstrates how much he has matured as an artist. He still has that spectacular elevation, but he also has developed a regal bearing and the ability to focus the audience's attention on his partner. Gabriella Yudenich added unexpected sensuality to the role of Frau Stahlbaum; William DeGregory gave a remarkably nuanced performance as Herr Drosselmeier, and the company's corps looks better all the time.

Ultimately, Nutcracker's success depends on the tone established at the beginning, by the ballet's three young stars. In the central role of Marie, Maria Santangelo was charming, with extraordinary footwork. Curly-haired scene-stealer Juan Rafael Castellanos (all of 8 years old) perfectly embodied Marie's annoying younger brother. And as the Little Prince, Thomas Harrison already possesses grown-up elegance and dignity.

Mind you, this was the so-called "B" cast, which dances at matinee rather than evening performances, and includes no principals, only soloists, corps members, and recruits from local dance schools. But they were wonderful, as was the Pennsylvania Ballet's Orchestra, under the assured direction of Beatrice Jona Affron.

"The Nutcracker" is magical. It brings out the childlike innocence in each of us, awakening the imagination in a land where snowflakes dance and toy soldiers fight mice.

The magic of Christmas comes alive on Broad Street at the Academy of Music with the opening of the Pennsylvania Ballet's version of Balanchine's "The Nutcracker." It is a tradition as much as the Christmas party it portrays. This is the 41st year that Pennsylvania Ballet has performed "The Nutcracker" delighting audiences for decades.

Some members of the cast, like Gabriella Yudenich, was six when she performed as one of the angels and now years later is the Sugar Plum Fairy. In this production, Yudenich is now Frau Stahlbaum, the hostess of the party. Ballet is in Yudenich's blood, her mother, Barbara Sandonato danced the pas de deux with Alexei Yudenich in the 1968 opening production.

The Christmas party scene is an enchanting look at Christmas parties of the past. The tree takes center stage as dancers, young and old in opulent-colored costumes, create a picture perfect holiday delight. Children in the audience dressed in their holiday finery are able to take pictures with the Mouse King and the Sugar Plum Fairy between acts so they have a picture perfect memory to take home.

Stephanie Bandura was the perfect young Marie paired with her Nutcracker, Peter Weil. Both were excellent in the portrayal of their characters. Weil gave an excellent rendition of his fight with the Mouse King, in the Land of the Sweets amusing the audience.

"The Nutcracker" set to Peter Tschaikovsky music is as much pleasure to the ears as to the eyes. One change to the Sunday afternoon performance was the Women's Ensemble of Council Rock High School South directed by Corey M. Alexer. Usually the Philadelphia Boys Choir is on hand and though the vocals of the Ensemble were good they weren't as powerful as the Philadelphia Boys Choir.

Stealing the show was Brooke Moore as Dewdrop. Moore is a powerful dancer and she gave a commanding performance. Julie Diana paired with Zachary Hench was an enchanting Sugarplum Fairy. But Amy Aldridge's performance as Coffee was disappointing especially compared to Tea performed by Jermel Johnson, Phoebe Gavula and Alessandra Mullin whose performances were passionate.

Mother Ginger performed by Nicholas Sipes and her little Polichinelles were fun.

Some things never get old, and ballet's The Nutcracker is one of these imperishable goods. At the Pennsylvania Ballet's opening night performance (actually the third time the ballet had been performed that day, after a morning performance at 11 a.m., and a 3 p.m. matinee), every seat from the orchestra to the top balcony appeared to be full. Out in the lobby, the Sugar Plum Fairy smiled graciously as children climbed into her lap to have their picture taken. The Mouse King was available at intermission for more photos.

No one would be more surprised than Tchaikovsky himself to find Nutcracker becoming such a holiday tradition. The production wasn't considered a success when it opened in St. Petersburg in 1892. Too lavish, too many kids, and just too much of everything was the general view.

Luckily one of the participating children, George Balanchine, went on to a long career as a choreographer and artistic director of his own New York City Ballet, and he personally revived the Nutcracker tradition with a staging for his company and school of dance that has become the gold standard for this classic.

Three authorized companies

Anyone can stage a Nutcracker performance. All you need is the Tchaikovsky score and some imagination. There's a Maurice Sendak-designed version in Seattle; the Pennsylvania Ballet's Rock School of Dance sets its student Nutcracker production in Philadelphia 1776; and there are many more. But if you want to see a Nutcracker as close to the original St. Petersburg version as is possible you need to see Pennsylvania Ballet's production. Our local troupe is one of only three companies worldwide authorized to perform the Balanchine Nutcracker. (Balanchine's own New York City Ballet and the Miami City Ballet are the others.)

It was terrific to see William DeGregory— former Pennsylvania Ballet principal dancer, now director of Penn Ballet II— performing the role of Herr Drosselmeier, the semi-threatening gentleman with the eye patch and cape who presents the young heroine Marie with a nutcracker. Retirement hasn't impaired any of DeGregory's performing abilities. He can mop up the stage as a dance actor with the best of them.

As Marie, little Stephanie Bandura conveyed as much poise and confidence as the party scene adults. Marie's rambunctious brother Fritz was performed by spunky little Lucas Tischler, who gleefully smashed Marie's prized Christmas gift of the nutcracker.

Technically superb snowstorm

By the end of the first act, the nutcracker gift has evolved from a small wooden object into a small prince, in this case a gallant and very stage savvy young Peter Weil. The little prince and Marie escape an attack by the Mouse King and his army, and disappear in a snowstorm of beautiful, and technically superb, dancing snowflakes accompanied by the orchestra and the Philadelphia Boys Choir. For sheer stage beauty, this is one of the production's most goose-bumping, tear-inducing sections.

Act Two finds Marie and her Prince in the Land of Sweets. Here the little couple is entertained with a banquet of dance, presented by all the many inhabitants of this wondrous realm.

Tiny angels glide across the stage, heralding the arrival of Sugar Plum Fairy Julie Diana, who leads them off to her enchanted realm. Marie and her Prince are placed on a throne made out of candy in a hall lined with candy cane pillars, where they can watch an entertainment presented for the young prince and his princess's amusement.

Beverages on parade

This show-within-a-show begins with a serving of Hot Chocolate spiced with Spanish flamenco. Barette Vance and James Ihde, who led this variation, were excellent. Coffee percolated next, with Meredith Reffner outstanding in the near-contortionist, slinky Middle Eastern-style solo. Reffner got it all perfect, down to the last flirtatious gesture to the audience. Naturally, Coffee was followed by Tea, with Francis Veyette excellent as the Oriental gentleman accompanied by two charming ladies.

Next came the sweet stuff: Candy Canes, with Jermel Johnson polishing off the solo pyrotechnics involved in dancing with, jumping through, and waving a red-and-white-striped hoop while a bunch of other hoopsters danced behind him. Abigail Mentzer was excellent leading the Marzipan Shepherdesses in their sweet variation.

Nicholas Sipes got the comic character part of Mother Ginger, a huge figure who sashays onstage and opens her/his flounced skirt to release eight Polichinelles, little dancing children sashaying around the stage.

A demanding pas de deux

Amy Aldridge was superb as Dew Drop, the solo at the center of the Waltz of the Flowers. Aldridge's movements were crisp and sharply executed, yet responsive to the music.

The grandest actual ballet dancing in Nutcracker is a very demanding romantic pas de deux that closes out the performance. As the Tchaikovsky music soared, the Sugar Plum Fairy, Julie Diana, and her Cavalier, Zachary Hench, were breathtaking, flying around the stage, reaching toward one another with floating arms, catching each other in precarious leaps, and conveying a sense of ecstasy while overhead our young prince and princess sailed back to real life.

As the inhabitants of the Land of Sweets came back onstage to wave goodbye, the applauding audience lingered, especially the children, seeming reluctant to step outside this colorful theatrical realm and back into the cold dark December night. I couldn't blame them.

There are two types of people, those who love The Nutcracker and those who will do anything not to be in the same room with the Sugar Plum Fairy, an engorged tree and Tchaikovsky. Well, they can crack their own nuts and miss all the fun.

Pennsylvania Ballet had a warm-up run of George Balanchine's Nutcracker at the Kennedy Center two weeks ago and they are now back at The Academy of Music back in Philadelphia for the duration of the holiday period.

Although the platoon of Snowflakes that begin the real dancing at the end of Act I, looked a bit drifted in moments (it was their fifth dance storm in two days) they are completely glittering in the various Act II ensemble divertissement. While PB's production may seem old hat by now, but is still full of star power from the children's roles right up through the ranks of corps, soloists and Balanchine specialists among the principals.

Julie Diana as the Sugarplum Fairy is in command from her serene adagio pointe work with the Angels to her steely piques and thrillingly paced pirouette runs. She is so well partnered with Zachary Hench (as her Cavalier) that they glide through the intricacies of their pas de deux. Hench's unfussy aerials keep the spotlight on Diana. Her jetes onto his shoulders are a marvel of suspended trajectory.

There is also great chemistry between Hawley Rowe and James Ihde as the lead Tarantella couple in the Spanish dance. The Marzipan Shepardesses is led by another quietly charming performance by Abigail Mentzer with stellar technical qualities. Brooke Moore also is a standout as Dewdrop, her precision frames Balanchine's decorated pageantry, not visa-versa.

Speaking of character roles, it is great to see former principal dancer, now director of PA Ballet II back onstage at the Academy as Herr Drosselmeier. He chose an Imperial Ballet pantomime performance, eye patch skullduggery and all, as he works that black velvet and gold silk lined cape. And kudos to the otherwise disguised Nicholas Sipes in the thankless roles as the ratty Mouse King and campy Mother Ginger -- the fur and skirts fly, thankfully, fast.

In the second act divertissements, the soloists, in this performance, are dogged with minor technical flaws. Balanchine built in some flashy moves and the performer has to be uber-on for these cameos. Jermel Johnson pitches out of his turn as Tea and he only gets that one, so it stands out.

Amy Aldridge slightly mis-paces the end phrases of the Coffee harem dance; but it doesn't detract at all from her sparkly abs. Taylor Galster has one minor hoop flub in Candy Canes dance, but nails the rest. But no doubt they own these roles and will be getting the lead out of their tinsel by Christmas.

The production also marks the return for Peter Weil as the Nephew-Nutcracker. He gets better every time and this year is partnered with the gorgeous young ballerina Stephanie Bandura as Marie - her natural line and her acting is splendid - like the star on the top of the tree.

-second cast-

Those corps snowflakes were not all crysal two weeks later at a 2nd cast noon matinee, but again those ladies more than made up for it in other scenes. Soloist highlights included Maximilien Baud's Herr D., which he played to quick animated effect. In contrast, Gabriella Yudenich beefed up every second on the party hostess (often a walk-through role). Yudenich kept her cranberry satin and velvet gown fabulously aswirl. The whole 1st act was tighter.

Amy Aldridge was back as Coffee, this time spellbindingly in character. Fraces Veyette too over the loop dance flawlessly with great connection with his fellow canes. Fauren Fadeley led those shepardesses on tight unison jums and Moore repeated with great technical clarity.

Arantxa Ochoa and Sergio Torrado have thrilling and serene partnering technique as Sugarplum Fairy and her Cavalier. Newcomer Darius Black as Nutcracker-Nephew did so well with the pantomime in Act II, that could be that a danseur noble is born. And bravo to Elizbeth Kaderabek's sublime violin solo that moves the musical narrative along in all of Tchaikovsky's gandeur.

There is surely no more charming amalgam of the American fantasy of Christmas than "The Nutcracker," with its celebration of children, gifts and gluttony. But I don't think we'd give the ballet a second look without Tchaikovsky's music, so full of shimmery enchantment no matter how familiar it is. The chance to hear that glorious music in live performance was the chief attraction of the Pennsylvania Ballet's production of the holiday favorite, which opened Tuesday night at the Kennedy Center Opera House and repeats through Sunday.

The Philadelphia-based company performs George Balanchine's version of the ballet, which has a seamless relationship to Tchaikovsky's light, skimming spirit and gathering sense of wonder. Whether you believe the music's promise is fulfilled by what's happening onstage, however, may depend on how you feel about children claiming your attention for large stretches of the evening.

Most of them are culled from local ballet schools, and they are a spirited and polished lot, but it's a full 50 minutes into the program before there's any professional dancing to speak of -- that would be the snow scene, the ballet highlight of this production. This company doesn't take any longer to get to the Land of Snow than any other traditional account does, but somehow the first act feels more leisurely; perhaps that's due to the mellow ambiance of the opening party scene. Here, the Stahlbaums have matters firmly in hand: Young Marie (a.k.a. Clara, in other versions) and her brother Fritz are eagerly bouncy, but for the most part they and their little friends are well-behaved, as you'd expect in a 19th-century German household.

The snow scene puts the company's fine corps de ballet on view, and they render the swift footwork and sudden swirlings this way and that with airy effortlessness. This was also the case for the Waltz of the Flowers, led by Amy Aldridge's supple Dewdrop.

The many children add an ample cute factor, but one of their number was a true scene-stealer: Peter Weil, who was nephew to Marie's godfather, Herr Drosselmeier, in the first act, and played the human incarnation of her nutcracker in the second. When he used the centuries-old language of ballet mime to tell Julie Diana's Sugarplum Fairy of his adventures, his gestures were grand, sweeping and clear and his whole bearing reflected the excitement of the tale.

Are you a fan of special effects? In this production, you get a good, long look at the twinkly and impressively expandable Christmas tree, of course (in Balanchine's own words, "the ballet is the tree"), and at one other bewitched Stahlbaum possession: The nutcracker doll's four-poster bed, where Marie's wooden toy recuperates after being stepped on by Fritz. After the rain of cheese chunks clears from the lively rat vs. toy soldier battle scene, not only has the bed grown to full size but it has been promoted to soloist rank. As the music swells to evoke Elysian heights, the bed glides around and around all by itself on the empty stage. Marie is in there, somewhere under the covers, but really, this is the bed's moment. Big moment for the bed.

You may never again feel so grateful that at least the music was live. Beatrice Jona Affron conducted the Opera House Orchestra.

But all in all, this is a version that may please children more than adults.

Then again, who can say for sure? My reservations about this production won't matter much to audiences who are wild about "The Nutcracker" as an institution -- families pursuing a cherished holiday tradition or engaging in a one-time splurge. When we're talking about such an icon of popular affection, what difference does it make that students hold down the show until well into the evening, or that there are portions devoted to mechanical scenic effects, with no dancing at all?

Lob a hailstorm of quibbles at it, but "The Nutcracker" endures, working its magic on those to whom it has a meaning that goes well beyond dance values. It's impossible to overlook its strengths: It is, unfailingly, a bright, joyous spectacle, uncomplicated and straightforward. In uncertain times, the Stahlbaum household looks especially warm and reassuring; the beloved music may recall childhoods past; the antics of children may strike some as delightfully refreshing.

None of these qualities has much to do with the art of ballet, though. After the stagecraft and costuming and youngsters and naturalistic interactions, ballet dancing is a tangential aspect of most any "Nutcracker" production.

That's what I'm most concerned about: Despite the expense and the monumental effort ballet troupes take on to produce a run of shows -- however lucrative they may be -- I suspect that the faux snow and candy fantasia don't do as much as we might wish to hook ticketholders on the art form itself. For if that were the case, after all these years of "Nutcrackers," we'd be experiencing a ballet boom to light up the sky.

This is the time of year that invites thoughts of a babe in a manger, a jolly red-coated Santa sliding down a chimney, a toy nutcracker that turns into a handsome prince.

The Kennedy Center began its celebration of the season last night with what has been the most magical and luminous version of "The Nutcracker," the ballet created by George Balanchine 55 years ago and being danced here for the first time by the Pennsylvania Ballet.

Dance is the most evanescent art, and in some ways, this "Nutcracker" is a flawed rendering of what Balanchine created. The choreographer gave us a picture of a bustling Christmas party, with well-behaved little girls, boisterous young boys and a mysterious guest, Herr Drosselmeier, who brought gifts for the children, including a toy nutcracker for the little heroine, Clara.
That scene is lively and suffused with a party atmosphere, but the Pennsylvanians have jacked it up as if simple domestic happiness weren't enough. The children are so rehearsed that they have lost their childlike charm and look like hardened professionals - impressive, but losing much of their innate appeal.

The company has new scenery by Peter Horne and costumes by Judanna Lynn that are bold and vibrant, but occasionally strident.

Drosselmeier is sometimes portrayed as mysterious or slightly menacing, but Maximilien Baud plays him as a matinee idol, a scene-stealer who's never still, injecting himself into every action.

In the first act, however, there are two genuinely grand young scene-stealers: Lucas Tischler, a pint-size charmer who plays the mischievous role of Fritz with gusto and finely honed skill, and, as the Nutcracker, Peter Well. He handily delivers one of the longest pantomime sequences in all of ballet - his retelling of the fight with the Mouse King and how Clara saved his life by throwing her slipper at his opponent.

Basically, in the first act, one longs for the sweetness and unforced naturalness that was everywhere in Balanchine's original production. From then on, however, the Pennsylvanians give an impressive performance. The first real dancing in the ballet, the snow scene at the end of the first act, is airy and zestful. Then, dance takes precedence over drama as Clara and her Nutcracker Prince journey to the Land of Sweets.

There they are met by a dozen Angels, young girls gliding swiftly over the stage in flowing formations, followed by tasty groups of Hot Chocolate, Candy Canes, Marzipan and a solo, Coffee, danced by Riolama Lorenzo.

That builds to the dancing climax with a solo for Amy Aldridge, the Dew Drop Fairy; the luscious Waltz of the Flowers; and the radiance of Tchaikovsky's musical climax for the Sugar Plum Fairy and her Cavalier, danced by Julie Diana with Zachary Hench as her strong, supportive partner.

The ballet concludes with the final dramatic image of Clara and her Prince in a sleigh that carries them up and off into the sky.

"Here we do Nutcracker right," George Balanchine used to say referring to his production of the famous Russian classic, which he created in 1954 for the New York City Ballet. The Nutcracker was rarely performed in the United States until then, when Balanchine first staged it at the City Center. At that time, the New York City Ballet was struggling financially and desperately "needed a rouser." Morton Baum, then-president of City Center, asked Balanchine. "George, do Nutcracker." So The Nutcracker, in Balanchine's capable hands, was reincarnated as a moneymaker.

Balanchine's Nutcracker comes closer than any other version to the original 1892 Russian production, a ballet-spectacular meant to dazzle and entertain. His iconic staging is genuinely related in spirit to Tchaikovsky's concept of the ballet.
Little did Balanchine know that with his iconic production he created one of the most cherished Christmas gifts ever given to America. Over the past 55 years, The Nutcracker has become synonymous with holiday time, a dream for thousands of little girls hoping to play the leading role, a traditional seasonal offering for most American ballet companies, and often their financial guardian angel.

Just in time for Thanksgiving, the Pennsylvania Ballet, a company founded and trained along Balanchine's traditions and repertory, unveiled its spectacular new production of Balanchine's Nutcracker at the Kennedy Center Opera House. This superbly performed Nutcracker proved a great opportunity to marvel afresh at Balanchine's choreographic intelligence and his sheer mastery for storytelling.

I watched the Pennsylvania Ballet's performance with increasing admiration. The sparklingly new production, which required almost $750,000 to stage, featured handsome scenic designs by Peter Horne and a fantastic wardrobe of nearly 200 costumes fashioned by Judanna Lynn.

Once again, the Stahlbaums hosted their Christmas Eve party, little Marie received a nutcracker as a gift and the magical events began happening one after another: the Christmas tree grew to the sky, a battalion of armored mice invaded the house, the nutcracker came to life, the snowflakes transformed into enchanting ballerinas, and the Sugarplum Fairy invited Marie and her Nutcracker Prince to be the guests of honor at the grand celebrations in the Land of Sweets.

The presence of children made this production endlessly delightful and fresh. The audience could feel the young performers' sincere, unbound happiness and thrill to be onstage as a part of the show, and could not help but share their excitement and joy.

On opening night, the entire cast of children deserved special praise for their polished performances and charming, unaffected stage presence.

In the leading role, Stephanie Bandura as Marie was captivatingly graceful and tender. She managed to look confident and romantic at the same time. Her little brother Fritz, as portrayed by the bouncy Lucas Tischler, was often the center of attention with his unbound energy and delightfully engaging misbehavior.

In the triple role of the Drosselmeier's nephew, the Nutcracker and the Little Prince, the outstanding Peter Weil was gallantry and good manners personified. He won the audience over with his impeccable demeanor and shining personality. The highest point of his performance, which was acknowledged by thunderous applause, was his mime rendition of Marie's dream with the growing tree, the doll-nutcracker coming to life and his fierce battle with the Mouse King.

The adult dancers of Pennsylvania Ballet also embraced their roles with relish and aplomb. Maximilien Baud's Herr Drosselmeier, a magician who orchestrates the action around him and whose gift of a nutcracker sets in motion the dream fantasies of the little Marie, was properly enigmatic and mystifying.

Amy Aldridge was an impressive Dewdrop. This demanding solo, imbued with technical brilliance and ineffable charm, had a dual air of springtime bloom and poetic lyricism. Aldridge performed with dynamic clarity and admiring flourish; her lively solo created a striking effect against the soft and spacious swirl of the corps de ballet.

Dancing with ease and delicacy, Abigail Mentzer brought a wonderful sense of buoyancy to the Marzipan Shepherdesses variation.

The Candy Canes hoop solo, which Balanchine himself performed as a young dancer in 1922 at the Mariinsky Theater, was danced by Jermel Johnson with impeccable precision and panache.

The enchanting Julie Diana as The Sugarplum Fairy illuminated the Land of Sweets with radiance and warmth. The sounds of a celesta marked her first appearance in a magnificent solo at the beginning of the second act, where Balanchine gave her the most illustrious steps to underscore her idyllic supremacy in the Land of Sweets. A dancer of lyrical nuance, Diana brought out the poetic aspect of Balanchine's genius with her sensitive and fluid phrasing, revealing before our eyes one beautiful aspect of his choreography after another. She truly shone in a sweeping grand pas de deux at the end, demonstrating an abounding pliancy of her upper body and immaculate pointework.

As her Cavalier, Zachary Hench made a terrific partner. With his aristocratic poise and good looks, he had the necessary image for the role. His fluent partnering was a study in nobility and gallantry as he presented his ballerina in the best possible way. There was an aura of amazing purity to their elegantly danced pas de deux.

The excellent female corps de ballet danced with sparkle and stylistic fineness, highlighting the festive vitality of the Waltz of the Snowflakes and Waltz of the Flowers.

This was a truly special evening. Even though The Nutcracker more than anything else is the children's story − a little girl's dream of Christmas, in which presents come to life and incredible adventures ensue − the Balanchine's masterpiece still has the power to bring joy and provide entertainment for audiences of all ages.

Is the quest over? The Kennedy Center has been trying for several years to find a "Nutcracker" that suits the house, and with the Pennsylvania Ballet's production of George Balanchine's "The Nutcracker," it may have finally found the right one. The costumes and sets are lovely, there's plenty of magic for the children and dancing for the fans. Best of all, if this is your first "Nutcracker" you might actually want to come back and see more ballet!

This is the production that started it all, the little seed from which one very large tree has grown. George Balanchine staged the ballet he had known since childhood when his company was less than a decade old, and it's a textbook on how to make a ballet that fits a young company in its current stage of development, yet gives it ample room to grow. There are roles for dozens of children of various ages, and the dances in the famous "Kingdom of the Sweets" divertissement are suitable for assorted styles and talents. The Rose Waltz is a first-rate piece of choreography by itself, and the Pennsylvania Ballet corps danced it beautifully.

"Tne Nutcracker" was not popular among the balletomanes when it was new because there wasn't a fully developed ballerina role. They were accustomed to a three- or four-act ballet with the ballerina demonstrating different aspects of her technique ad personality in each one. In "Nutcracker," the Sugar Plum Fairy doesn't enter until the second act, and aside from a few moments of gracious miming, has only one pas de deux. Today's balletomanes grumble because there's very little for her cavalier to dance.

The star couple has to make a big impression on their own, and neither Julie Diana nor Zachary Hench  as yet have the authority to make you forget how little stage time they have. Amy Aldridge was a very musical Dewdrop (a character Balanchine invented to lead the Rose Waltz) but also lacked sparkle. Today's dancers aren't used to grand classical ballet, and it must be a difficult adjustment to move from contemporary work where everyone is alike to a ballet that demands individuality in its soloists.

The leading children had individuality to burn, though, especially Lucas Tischler as an elfin Fritz, who looked as though he could move from an action movie set to a Victorian parlor without difficulty. Peter Weil was a very gallant young Nutcracker/Nephew (who got the most applause of the evening), and Stephanie Bandura's Clara managed to be appropriately sweet and demure while trying to either avoid or expose Fritz's misdeeds.

Among the soloists, I particularly admired Abigail Mentzer and the other Marzipan Shepherdesses, and Jermel Johnson as an exuberant high-jumping Candy Cane.

There was no conductor credited in the program that I could find, but the Kennedy Center Orchestra and Norwood Middle School Choir did ample justice to the score. The mere presence of an orchestra is something one can no longer take for granted, but for this "Nutcracker," it's as important as the tree.

Take a solid heap of Tchaikovsky, sprinkle in some tap dancing, mix thoroughly with a new work that celebrates the powers of creative invention and you've got the Pennsylvania Ballet's 46th season opening program. When George Balanchine created Theme and Variations in 1947, it was considered the very leading edge of dance innovation. Balanchine stripped ballet of its cozy relationship with fairy tales. He took grand Tchaikovsky music (Suite No. 3 for Orchestra in G major) and choreographed complicated corps work and a difficult pas de deux. He wanted no story, no friendly peasants, no dying heroine — just complex dance patterns. This wonderful neoclassic work got an outstanding rendering by the PAB corps, who kept their body lines moving flawlessly in ever-changing intersecting patterns. In the pas de deux, Amy Aldridge and Sergio Torrado were outstanding — especially Torrado, who brought physical presence and command to this abstract piece.

Agnes de Mille's Rodeo was first performed in 1942. It's a miniature musical comedy with a great Aaron Copland score created for ballet. Set in the old West of ranch hands and rodeos, Rodeo revolves around a spunky tomboy heroine who's more anxious to ride horses and round up cattle than flirt with men — until the Champion Roper dances his way into her heart. Corps member Laura Bowman was a good tomboy; her suitor, Jonathan Stiles, was an fantastic roper, using tap to announce his intentions. Ian Hussey did double duty, shouting out calls while performing flawlessly in a hootin' hollerin' square dance.

Matthew Neenan's world première, At the Border, stole the show, managing to be totally new and wildly experimental, yet beautiful and subtle. For music, Neenan turned to John Adams' Hallelujah Junction — a difficult, percussive, off-key, off-beat, repetitive piano duet. Fourteen dancers surged across the blue-lit stage only to suddenly freeze. Ballet jetés and tours crumbled to the floor, rigid arms sliced air, angles were sharp and at any moment the whole stage exploded with odd moves. From Tchaikovsky to Adams, there's no border this performance didn't cross. Oct. 22, Academy of Music.

Program 1 at the Pennsylvania Ballet was a taste of classical, modern and Broadway dance. Thursday's night performance was not an unusual mix for this company, but Matthew Neenan's "At the Border" was an amazing show of bodies in motion and the physical strength and beauty of the dancer.

Neenan never disappoints with his choreography and this world premiere was no exception. But the real beauty lies in the Pennsylvania Ballet Company's interpretation. The dancers are able to bring his vision to life with emotion and energy.

Your eyes never leave the stage as dancers move from one space to the next to the piano score for two pianos by composer John Adams, Hallelujah Junction. It is a modern ballet that dazzles the eyes with its incredible movements and I would love to see this again and in the upcoming seasons. Riolama Lorenzo and Zachary Hench gave their all as did the rest of the principals and soloist dancers in the company.

"Themes and Variations," the opening dance of Program 1, is a beautiful tribute to the Imperial Russian Ballet. Set to Tschiakovsky's Suite No. 3 in G, the music and dance is superb. A few out of sync moments occured when all the dancers came together on this second night of performance, but all in all a sincere approach to the classical movements of ballet. The blue background and simplicity gives homage to the discipline of toe dance. Amy Aldridge and Sergio Torrado are superb in their Pas de Deux performance.

"Rodeo" was the final act. The costumes were a bit humorous and the choreography was fun. Laura Bowman was excellent as the Cowgirl. She brought humor and emotion to the lighthearted ballet. "Rodeo" was first performed in 1942 and choreographed by Agnes de Mille who played the lead of the Cowgirl at the Metropolitan Opera House in 1943.

This ballet led to the beloved musical Oklahoma by Richard Rogers and Oscar Hammerstein. deMille created the dances for the Broadway show.