VERO BEACH — Even with all the cast’s families in the audience, Riverside Children’s Theatre’s “The Nutcracker: in Swingtime!” is proof that Adam Schnell, the show’s director and choreographer, is providing his students with something greater than a straight-up recital experience.
By playing multiple roles in two different casts, these young dancers are getting the full ballet experience. They are telling a story, staging a real ballet with all the entrances, exits, costume and scene changes, use of props, plus the essential dance and mime that give a story ballet its narrative.
To Schnell’s credit, this production is blessedly free of those agonizing moments waiting for the tiniest dancers in their adorable costumes to troop on stage.
Schnell’s “Nutcracker” flows. With heartfelt dancing, sizzling music, and stylish costumes, this production lights up the stage.
Even the roles traditionally played by adult professionals are danced by kids here. Their energy is golden.
This jazzy version of Tchaikovsky’s classic with a score by Duke Ellington, Billy Strayhorn, and David Berger, is not trying to replace the original, or even compete with it.
Instead, “The Nutcracker: In Swingtime!” is the perfect combination of comfortably familiar and refreshingly new.
That’s exactly what Schnell wants as he establishes a new holiday tradition in this production’s second year.
The characters spin off the Nutcracker standards: the wicked Housemistress/Mouse Queen, the Telegram Boy/Nutcracker, the Chinese dragon, the French maids, and all the toys and snowflakes come-to-life, but with a saucy vitality that’s unique to kids.
Unlike the classic “Nutcracker,” this swing version has some heat.
As a production of RCT’s dance conservatory, a group Schnell says has experienced “across the board growth,” it’s only right that kids dance even the most challenging roles.
The community seems to like that too.
Compared to last year, even more people are interested in performing in the show, and more are coming to see it.
Last year’s “Nutcracker” sold out before opening night, so RCT increased the number of performances from four to six this year. On opening night, there were only a few empty seats in the very back.
From Schnell’s perspective, the concept of “the dance and theater conservatories working in tandem is flourishing.”
“Over half our cast members have participated in a theater show and I am certain that even more have participated in classes,” says Schnell. “The dance program is doing exceedingly well.”
The numbers speak for themselves.
Last year’s production had one cast.
This year’s has two – just under 60 in each, including eight enthusiastic boys.
Schnell says that two-thirds of last year’s cast returned to do it all again.
Some are reprising last year’s roles as in the case of Ryan Terpstra playing the father and Megan Taylor Callahan as Clara.
But Callahan also plays the new role of Housemistress/Mouse Queen for one of the casts.
Playing Telegram Boy/Nutcracker in one cast is Sean Castro and Patrick Schlitt in the other.
Both boys give strong performances as does Laura Lines as the Sugar Rum Cherry in cast A and Clara in cast B.
Mackenzie Ross plays a serene Sugar Rum Cherry in cast B.
Callahan steals the show as domineering Housemistress/Mouse Queen.
As the nasty, mouse, she gleefully capers sideways, waggling her ears.
The exquisite Mouse Queen costume, replete with enormous ears, by Travis Halsey, is simultaneously sinister and beautiful.
The well-known Halsey created the Sugar Plum Cherry’s costume and specific costumes for last year’s debut performance.
His designs are regularly seen at ballet competitions around the world.
Wanting to establish a tradition, Schnell isn’t interested in change for its own sake. But the show required some tweaking because of the greater number of participants.
“The ballet itself requires about 48 dancers,” says Schnell. “There are 74 separate roles in the production, but as is true in most productions across the globe, a lot of dancers take multiple parts.”
And Schnell notes another difference. He’s sleeping a lot better than last year at the same time.
“It’s December and I’m sleeping through the night,” says Schnell. “Last year, I was up every night.”
The dancers certainly exuded confidence on opening night. When one key dancer took a spill, she recovered with perfect aplomb, not missing a beat and her smile never failed.
Among the youngest and most enthusiastic were Colin Willis and Peter Wixon.
The two Russian porters tumbled like circus acrobats.
Schnell, who has been Riverside Children’s Theatre’s choreographer and dance instructor since 2009, has brought a diverse group together in a well-paced, perfectly-syncopated production.
Working with this wide array of talent is his favorite things. He enjoys watching young dancers grow and play new parts.
“As a choreographer who’s slightly OCD, it’s been fun to see kids grow into new roles and hear them say, ‘Oh my favorite part is coming up,’ ” says Schnell.
He credits his ability to mastermind all the permutations of two casts, with multiple scene and costume changes to his own experience as a ballet dancer.
He calls ballet the ultimate form of multi-tasking.
“In ballet,” says Schnell, “you are constantly taught to use your mind, body, and heart.”
As a former professional dancer, Schnell was asked to understudy an entire ballet, learning every part.
“This multiple cast concept is very ‘real world’ and I’m thrilled to be able to expose the kids to it,” says Schnell.
He is quick to thank stage manager Nikki Baldwin as well as principal dancer coach Camilo A. Rodriguez.
The lean, efficient sets with the 1930s retro feel are by Riverside Theatre’s managing director Jon R. Moses.
“The Nutcracker: In Swingtime!” has performances Dec. 16 at 7:30 p.m. and Dec. 17 and 18 at 1 p.m.
Call the box office at (772) 231-6990 for information.