performing arts
GET CRACKING (Left) The Great Russian
troupe’s technical needs, and found
that they could be accommodated;
a co-production deal was worked
out with the executive director of
University Performing Arts.
But bringing in classically trained
Russian and Ukrainian dancers was
only half the story; the company
wanted to include young local danc-
ers in its cast. “Since they’re in a new
city almost every day when they are
on tour, management feels that by
reaching out to local communities
that we perform in ahead of the tour,
those communities get to know the
dancers and learn about the com-
pany,” says Sally Michael Keyes, a
spokesperson for the Moscow Ballet’s
North American tour. “And we raise
the level of interest in ballet in that
community. It’s a win-win situation.”
To cast the snowflakes, mice,
party guests and other roles open
to local dancers, the Moscow Ballet
sought out the services of the highly-
regarded Garden Street School of the
Performing Arts in Hoboken. Annie
McLoughlin, its co-director and
owner, says that her students appreci-
36
HOLIDAY 2019 WAYNE MAGAZINE
ate the ability to perform in Shea’s
beautiful venue, since Hoboken lacks
a similar public performance space.
For the past four years,
McLoughlin has held open auditions
for her students. Those who are ages
6-7 and have had a year of ballet
training are eligible to be Snowflakes;
all other open roles are filled by
intermediate to advanced dancers.
This year, about 25 dancers have
been cast — the production requires
as many as 70-80 if they perform for
three evenings in a row — with input
from the Moscow Ballet’s audition
director and soloist, Olga Posternak.
Posternak, who is Ukrainian, says
she enjoys the rehearsal process
with the local children. “I ask them
to have fun, and don’t be afraid of
me,” she says. “I can give them more
understanding of what they can do
and feel on stage.” In Russia, she
says, the emphasis is on “clean danc-
ing, and they need to learn positions
carefully.” Posternak has performance
duties of her own, too, this year
playing the Kissing Doll and soloing
in the “Spanish Variation” segment.
The dance students apppreci-
ate the world-class professionalism of
the Moscow Ballet performers, says
McLoughlin. “In Wayne, we get to
be part of something much bigger,”
she says. “It’s Christmas, and The
Nutcracker is in the fabric of our
tradition. And with that said,
students of all ethnicities and
religious beliefs come together.”
Shea Center’s audience is also
diverse, says Craig Woelpper, its
marketing director. “It’s a cul-
tural exchange not only between
the U.S. and Russia, but a lot of
the audience is Russian-speaking,”
he says. “There’s a large Russian
and Ukrainian community in
this area, particularly in Clifton.”
While half the ticket-holders live in
Wayne, he says, The Great Russian
Nutcracker attracts multi-generational
show-goers from Passaic, Essex and
Bergen counties as well.
One thing that is nearly universal
is the feedback the show’s producers
receive. “One of my favorite things
to do is to stand in the lobby at
intermission and the conclusion, and
listen to the buzz,” says Al Shaefer,
the production manager. “It’s been
extraordinarily positive. People say
they like having The Nutcracker
nearby, so they don’t have to go into
the city to see it. They think that the
dancing is extraordinary. I’ve worked
on many Nutcracker productions,
and this is among the best that I’ve
been exposed to.” ■
Nutcracker soldiers get ready to battle mice;
(above) Masha shows the Great Russian Nutcracker
doll some love.