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A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet
A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet
A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet
A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet
A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet
A scene from Lynch Ballet Company's 'The Nutcracker'. Photo courtesy of Lynch Ballet

By Jennifer Donatelli

For many, “The Nutcracker” has become a cherished holiday tradition, and the renowned Lynch Ballet Company’s Dec. 14 performance at Huntington High School was no exception. This annual production has become a highlight of the local holiday calendar, bringing families and ballet enthusiasts together to celebrate the season with artistry and joy.

Directed by Artistic Director Karen Lynch, the production featured dancers ranging in age from 4 to 18, whose skill and dedication were evident throughout the performance. Combining detailed choreography, impressive set designs and elaborate costumes, the Lynch Ballet Company delivered a memorable experience that perfectly captured the holiday spirit.

The story of The Nutcracker follows Clara, a young girl whose nutcracker toy comes to life, leading her on a fantastical journey through magical lands filled with living toys and sugarplum fairies. While the narrative has charmed audiences for more than a century, the Lynch Ballet Company brought fresh energy to this timeless tale, grounding it in Huntington’s festive celebrations.

Seventh grader Annabelle Donovan, a student at Finley Middle School, stood out in her first major role as Clara. Her performance highlighted both the innocence and wonder of the character, showcasing Clara’s transformation into the heroine of her own story. “No matter what kind of day I had at school, I know I can come to the studio and just focus on dance. Dancing is my therapy. It makes me forget about everything else going on around me and just makes me so happy,” Donovan said.

Donovan, who has been dancing since age 3, trains three hours a day and says she wouldn’t have it any other way. Her parents, Kelly and David, also joined the production as Party Mom and Party Dad, sharing the stage with their daughter. Kelly Donovan expressed her pride, saying, “She’s worked really hard for many years, and it’s the only thing she does that allows her to express her emotions and identity through dance.”

Artistic Director Karen Lynch highlighted the unique challenges of casting such a pivotal role: “You have to look like a little girl but be old enough to carry the show since the first scene is 20 minutes, and Annie does just that.”

The role of the Nutcracker Prince was played by Jaden Scott, whose performance brought both poise and warmth to the stage, complementing Donovan’s Clara. The lively party scene characters, young mice, Russian dancers and Snowflakes contributed to the production’s energy and appeal.

Senior Julianne Tudisco, who danced the lead role of the Sugar Plum Fairy, was another standout performer. A seasoned dancer since the age of 4, Tudisco has grown up with the Lynch Ballet Company, dancing roles ranging from a mouse to the Snow Queen. “Dancing is a great escape, and I love the music and gracefulness of ballet when I come to the studio,” she said. As she prepares for college, Tudisco says ballet will always be a part of her life.

The production’s artistry extended beyond the dancers to its visually rich sets and costumes. Costume Mistress Madeleine Hindus, a former designer for American Ballet Theatre, brought period-inspired detail to the stage with her meticulously crafted costumes. From Clara’s flowing white dress to the bold, colorful attire of the Russian, Arabian and Chinese dancers, every costume added depth to the storytelling and enhanced the festive atmosphere.

The sets, too, were thoughtfully designed, transporting the audience from Clara’s cozy home to the magical Land of Sweets and the snow-covered kingdom. The growing Christmas tree during the opening party scene drew audible gasps, while the life-sized Nutcracker doll created an eye-catching visual.

For Huntington, this production of “The Nutcracker” is more than just a ballet—it’s a community tradition. Each year, the performance draws local families, friends and longtime ballet enthusiasts together to celebrate the holiday season. The Lynch Ballet Company’s focus on showcasing young talent from the area makes it a point of pride for the town.

As the final curtain fell and the dancers took their bows, the audience’s enthusiastic applause reflected the joy and wonder the production brought to the community. The performance served as a reminder of the power of art to unite people and celebrate the magic of the holiday season.

For more information on the Lynch Ballet Company visit www.lynchballet.com.

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A scene from Seiskaya Ballet's 'Nucracker.' Photo courtesy of Dimitri Papadakos

By Rita J. Egan

On the chilly Sunday after Thanksgiving, dozens of children and teenagers weren’t at the mall shopping for presents; they were preparing for the holiday season in a different way.

Dressed in leotards and tights, they were rehearsing for Seiskaya Ballet’s upcoming performance of Nutcracker at Stony Brook University’s Staller Center for the Arts. The dancers have rehearsed the holiday classic for months at Seiskaya’s St. James studio.

As they leaped and turned to the familiar score by Pyotr Tchaikovsky, many received feedback from the school’s Artistic Director Valia Seiskaya and Administrative Director Dimitri Papadakos. The husband-and-wife team knows the ballet well. The school has presented the beloved tale at the Staller Center since 1995, only missing one year in 2020 due to the COVID-19 pandemic.

Alan Inkles, Staller Center director, said Seiskaya’s production of the classic is a staple at the venue during the holiday season. He called the academy part of the Staller family.

“It has really been a pleasant honor to be their venue for so many years,” Inkles said, adding “there are a lot of smiles in the lobby.”

Nutcracker tells the tale of a young girl named Clara who goes on a magical adventure on Christmas Eve as her newly-gifted nutcracker comes to life. Along the way, the two travel to magical realms and encounter a Mouse King and the Sugar Plum Fairy.

This year, David Wright of Dance Theatre of Harlem will return to dance the roles of Cavalier and Nutcracker. Joining Wright on stage will be Seiskaya Principal dancers Madeleine Martufi, Kaede Urso and Michaela Lettiere as well as returning principal dancers Brianna Jimenez, Eva Pyrros, Lara Caraiani and Diana Atoian.

Leading up to opening night

A scene from Seiskaya Ballet’s ‘Nucracker.’ Photo courtesy of Dimitri Papadakos

When Valia Seiskaya opened the school more than 50 years ago, she had no interest in choreographing a version after performing it several times during her dancing career, according to Papadakos. However, the opportunity to present the two-part classical ballet fell together when another local school’s production could have been more successful at the Staller Center, a venue Seiskaya dancers have performed at since 1980 in the Ballet Education and Scholarship Fund, Inc. annual benefit performances.

One of their students’ aunts was Margaret Piotrowska, an acclaimed artist and designer for Warsaw television, films and theater, who agreed to design a set for the school. Piotrowska developed the storyboards, and Broadway’s Scenic Art Studios painted them. In addition to Piotrowska’s work are sculptures by Long Island sculptor Matt Targon.

Regarding Seiskaya’s choreography, Papadakos described it as unique, adding she enjoys ballets with a storyline.

“My wife is not a boring person at all, and it’s reflected in her ballets,” he said. “They’re full of life.”

Seiskaya’s production has had various tweaks throughout the years, according to Papadakos, but “the basic showmanship of the show has remained the same.”

With five performances from Friday, Dec. 20 to Sunday, Dec. 22, the cast varies in each performance, and some dancers perform multiple roles throughout the weekend, allowing various opportunities to be part of the production.

Seiskaya and Papadakos watching each rehearsal, especially early on, is vital as it helps them determine which dancers will have the lead parts. The pair use a five-star system to help decide who will qualify for a role. 

“Any academy dancer can try out for any role they are reasonably capable of performing,” Papadakos said. “Five performance-caliber rehearsals translates into five stars which makes you eligible for a role, but does not guarantee selection.”

He said such a system allows dancers to know their progress and where they stand, saving hearts from being broken.

“It’s a growing experience,” he added.

Principal dancers Madeleine Martufi, 16, of Smithtown, and Kaede Urso, 16, of Setauket, said the star system and feedback help with their performances. Martufi called it “rewarding.”

“It’s nice to get feedback and corrections,” she said.

Urso said she aims to get a star each rehearsal but said if a dancer doesn’t receive one, the feedback helps for next time.

During rehearsals, younger students who will not be performing in the ballet will serve as placeholders to ensure there is always an entire crew to rehearse. Some of the younger students also have walk-on roles during the ballet’s party scene.

“By next year or the following year, they’ll not only know the choreography dead cold, but they’ll be used to dancing among other dancers,” Papadakos said, adding that mastering the Sugar Plum Fairy role can be a two- to three-year process.

Martufi, who has performed in Seiskaya’s Nutcracker since she was 6, and Urso, who has been in it for nine years, both started with walk-on parts. The two will each play the Sugar Plum Fairy this year at different performances. During other shows, Martufi will dance the parts of Clara and Dew Drop, while Urso will be the Chocolate Soldier, plus each principal dancer will take on other roles.

Martufi said she is looking forward to dancing as the Sugar Plum Fairy, because while Clara has a lot of stage time, the role is a mix of dancing and acting.

“The Sugar Plum is very technical and intense,” she said.

Urso said it’s hard work to prepare to dance as the Sugar Plum Fairy and to build the stamina needed. 

“It was definitely a challenge, but it all worked out,” Urso added.

A holiday tradition

A scene from Seiskaya Ballet’s ‘Nucracker.’ Photo courtesy of Dimitri Papadakos

Staging Nutcracker since 1995, Papadakos said he and Seiskaya evaluate their health and other factors regarding continuing to train dancers and produce performances, something they plan to do as long as possible.

“No one is putting more sand in our hourglasses,” he said.

If Urso and Martufi are any indication, the dancers are up for performing for years to come. Urso said it’s fun to be part of a holiday tradition such as Nutrcracker.

“I hope it brings everyone a little extra Christmas spirit,” Urso said.

Martufi said while it makes Christmastime a bit busier, “it’s so worth it.”

“It’s something so special to me that I can’t imagine my Christmas without it,” Martufi said. “It’s lovely getting to work with all my friends in rehearsal and getting to put something on stage that we’re so proud of.”

Seiskaya Ballet’s Nutcracker returns to Staller Center’s Main Stage, 100 Nicolls Road, Stony Brook on Friday, Dec. 20 at 7 p.m.; Saturday, Dec. 21 at 2 p.m. and 7 p.m.; and Sunday, Dec. 22 at 1 p.m. and 6 p.m. Tickets are $45 and $38 for children under 12 and seniors aged 62+. For more information and to purchase tickets, visit nutcrackerballet.com.

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A scene from a previous production of ‘The Nutcracker.’ Photo from Dimitri Papadakos

The Seiskaya Ballet’s Nutcracker, a perennial holiday favorite on Long Island, returns to Stony Brook University’s Staller Center for the Arts Main Stage, 100 Nicolls Road, Stony Brook for a five-performance run from Dec. 15 to 17. This classical ballet rendition has earned praise from critics and audiences alike. 

Seiskaya Ballet principal dancer Madeleine Martufi

The cast will be led by guest artist David Wright, dancing the dual roles of Cavalier/Nutcracker, a featured artist with the Dance Theater of Harlem. Seiskaya Ballet’s award winning principal dancers Vivian Ye, Madeleine Martufi, Nina Zhang and Kaede Urso plus returning principal dancers Brianna Jimenez, Eva Pyrros, Diana Atoian and Lara Caraiani.

Seiskaya Ballet’s Nutcracker is truly an international collaboration beginning with Pyotr Tchaikovsky’s most famous score.  Sets and several costumes were designed by Poland’s Margaret Piotrowska whose highly respected work in Polish television and stage productions has garnered wide praise. Directed by founder Joseph Forbes, scenery was executed by Scenic Art Studios which has been credited with painting over 300 Broadway shows.  The imaginative and unusual sculptures utilized in the Seiskaya Ballet’s production were the brainchild of creative artist Matt Targon. Choreographed by celebrated Russian-born Valia Seiskaya, this acclaimed production is imbued with bravura dancing, energy and endearing charisma.

Performances will be held on Friday, Dec. 15 at 7 p.m., Saturday, Dec. 16 at 2 p.m. and 7 p.m.; and Sunday, Dec. 17 at 1 p.m. and 6 p.m. Tickets are $45 for adults, $38 children and seniors. To order, call 631-632-ARTS (2787) or visit www.nutcrackerballet.com.

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Tanaquil Le Clercq, backstage at City Center, ca. 1954, © Anton Alterman/Harold Roth Photography

Reviewed by Jeffrey Sanzel

“Ballet is an ephemeral art, embedded in the mortal human body.”

Author Orel Protopopescu

Principal ballerina Tanaquil Le Clercq (1929-2000) was the fourth and final wife of choreographer and founder of the New York City Ballet, George Balanchine. Tanaquil—known as “Tanny”—was a muse to Balanchine as well as the genre-crossing Jerome Robbins. Both legendary artists created immortal works for Le Clercq. At twenty-seven, she contracted polio, ending her career as a dancer but not her connection to the art of dance. 

Illustrated by 100 photos, Dancing Past the Light (University Press of Florida) is a fascinating account of Le Clercq—her vocation, her challenges, and the underlying strength and humanity that allowed her to triumph in the face of a devastating illness. Author Orel Protopopescu provides almost a dual biography of Le Clercq and Balanchine, two lives that remained inseparable even after their divorce. 

Le Clercq descended from affluent, educated people: “On both sides, Tammy’s immediate ancestors were adventurous, artistic, worldly, and liberal-minded for their times.” However, her parent’s fiscal situation was tenuous. Her St. Louis debutante mother, Edith, was the driving force behind her early dancing, enrolling her at New York City’s King-Coit School. As a scholarship student in theatre and art, she performed for the first time at five years old. By age seven, she was studying at Mikhail Mordkin’s ballet school. She entered Balanchine’s School of American Ballet at age eleven, awarded one of the school’s first full scholarships. 

Her acceptance to the school coincided with the final dissolution of her parent’s marriage, strained by her father’s excessive drinking. The couple separated in 1946. Her father would remarry; her mother would remain single and a constant if sometimes unwanted presence in Le Clercq’s life. “The umbilical cord had stretched a bit further over the years but was never severed.”

The author provides detailed accounts of the demanding training, the rehearsals, and especially the performances. She conveys Le Clercq as an artist-in-motion, and the descriptions are exceptional. Additionally, Protopopescu traces her rise in the company, balancing the personal and professional particulars with dozens of interviews with friends and colleagues. 

Tanaquil Le Clercq, backstage at City Center, ca. 1954, © Anton Alterman/Harold Roth Photography

At the center is her connection with Balanchine whom she saw as “an old fogey” until she began receiving more personal instruction. Balanchine was a demanding director, influencing every area of his dancers’ lives, particularly the female dancers. 

Balanchine preferred “thin, tall female dancers with long necks and limbs.” Le Clercq epitomized this. While there were hints of Balanchine’s interest, by the time she was twenty, he was no longer hiding it. There were strong possibilities that he sabotaged or at least manipulated elements of her personal and romantic life.

The Le Clercq-Balanchine courtship and marriage are explored with great insight, including the complications rooted in the age difference and Balanchine’s need to seek a younger muse. Balanchine proposed Christmas 1952. She was twenty-three to his forty-eight. Without hesitation, she excepted, and they were married on New Year’s Eve. But, true to form, the work came first. They premiered the ballet Concertino the night before.

Le Clercq worked well and often with the mercurial and demanding Jerome Robbins. As with Balanchine, the complicated professional-personal relationship is surveyed with respect and candor and the complex triangle that existed between the three.

Protopopescu provides a visceral report of the European tour of 1956, during which Le Clercq contracted polio. At that time, her marriage to Balanchine was waning, and she had no desire to go. Following her contraction of the disease, Le Clercq faced a long recovery and the harsh reality of knowing that she would never dance again. “I’m not a dancer anymore. Who am I?” This was the question she faced after over two decades of dancing. 

A brutal, vivid picture of a polio victim follows, showing both the physical and psychological pains and the life limitations. But it also shows Le Clercq transforming by fearlessly facing the problems. As her friend Pat McBride explained: “Her wit and strength never left her nor did she indulge in self-pity. It was always a treat to be in her vivacious company.”

Eventually, she coached and taught at Arthur Mitchell’s Dance Theatre of Harlem using hand gestures—“a sort of balletic sign language”—to convey the choreography while seated in her wheelchair. The author touches upon the issue of race in the dance world and the lack of diversity and underrepresentation of African-Americans in Balanchine’s company. While not an activist, Le Clercq’s work with the DTH spoke volumes.

Dancing Past the Light will be of particular interest to ballet fans; it is an extraordinary celebration of a life in dance, with its highs and lows, challenges and rewards. It is an honest study of the people with whom one makes art. It is also a beautiful, authentic portrait of an exceptionally strong individual who faced a cataclysmic shift and rose above it.

ABOUT THE AUTHOR: 

A resident of Miller Place, Orel Protopopescu is an award-winning author, poet, and translator. Dancing Past the Light: The Life of Tanaquil Le Clercq is her first biography. Pick up a copy of the book at Amazon.com, or BarnesandNoble.com. For more information on the author, visit www.orelprotopopescu.com.

 

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Seiskaya Ballet principal Lara Caraiani and guest artist Blake Krapels will dazzle when they perform the elegant Sugar Plum Pas de Deux. 

The Seiskaya Ballet’s The Nutcracker, a perennial holiday favorite on Long Island, returns to Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook for a six-performance run from Dec. 16 to 19. This classical ballet rendition has earned praise from critics and audiences alike. 

Hailed as Long Island’s most lavish “Nutcracker,” the Seiskaya Ballet production of the classic holiday ballet is a truly international collaboration beginning with Pyotr Tchaikovsky’s most famous score. Sets and several costumes were designed by Poland’s Margaret Piotrowska whose highly respected work in Polish television and stage productions has garnered wide praise. 

Directed by founder Joseph Forbes, scenery was executed by Scenic Art Studios which has been credited with painting over 300 Broadway shows. The imaginative and unusual sculptures utilized in the Seiskaya Ballet’s production were the brainchild of creative artist Matt Targon. Choreographed by celebrated Russian-born Valia Seiskaya, this acclaimed production is imbued with bravura dancing, energy and endearing charisma.

The cast will be led by BalletX standout, guest artist, Blake Krapels (Cavalier) plus Seiskaya Ballet’s award winning Principal Dancers Lara Caraiani, Kyra Allgaier, Rachel Bland and Maya Butkevich.

Performances will be held on Thursday, Dec. 16 at 7 p.m.; Friday, Dec. 17 at 7 p.m.; Saturday, Dec. 18 at 2 p.m. and 7 p.m. and Sunday, Dec. 19 at 1 p.m. and 6 p.m. 

Tickets are $40 for adults, $34 children and seniors and $30 for groups of 20 or more at the Staller Center Box Office at 631-632-ARTS and at www.nutcrackerballet.com. (Attended box office hours are 11 a.m. to 3 p.m. Monday through Saturday and two hours prior to all performances. Online seat selection is available for all shows.)

 

 

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Little ballerinas wear their masks and stay in their special boxes to maintain social distancing at Chance to Dance in Setauket. Photo by Julianne Mosher

They all decided to think outside the box when it comes to socially distanced dancing. 

When dance studios across Long Island had to close their doors at the start of the Coronavirus pandemic back in March, owners were concerned about what that meant for their studios. 

Ballerinas at Backstage Studio of Dance in Port Jefferson Station balance in their boxes. Photo by Julianne Mosher

Gwenn Capodieci, executive director at Backstage Studio of Dance in Port Jefferson Station, said in her 35 years at the studio, this year was unlike any other. 

“This was probably one of the hardest times of my life,” she said. “It was so very stressful trying to get the PPP loans, any other grants, working with our landlords, worrying about not being at the studio — I’m in the risky age group and I want to continue doing what I love.”

But within a week after the shutdown, she said, Backstage posted 65 classes to Zoom.

“Teaching on zoom was difficult,” she said. “In the beginning the kids were excited, but then it wore off. Part of dancing is they’re your family, you want to see them in class.”

Capodieci said her studio surveyed parents on holding a recital — a rite of passage for many ballerinas where they adorn sparkly tutu’s and dance for their families on the big stage after months of rehearsals. They decided to cancel it this year. 

But in mid-July they were allowed to reopen in person, changing shape, and adhering to the new state’s guidelines for teaching. Inside her studio taped to the floor are different grids, a socially distanced box for each dancer to twirl and tap in, while wearing their newest accessory — a mask.

Ballerinas at the barre stay six feet away from each other during warmups. Photo by Julianne Mosher

“We’ve perfected the cleaning routine,” she said. “We clean the floors in between every class, wipe down the barres and have taken every chair, cubby and bench that’s in the studio away.”

“I want to be safe,” she added. “I don’t want to get anyone sick, and I don’t want to close my business.”

Capodieci said the added costs of Zoom and the cleaning supplies took a toll, especially with enrollment down.

“Enrollment was 60-something percent of what we normally have,” she said. “I’m hoping that next year is a good year for us.”

Down the road, also in Port Jefferson Station, Port Jefferson Dance Academy was celebrating its 25th year in business when the virus struck.

“We did not do Zoom classes, instead I started a private Facebook page and my teachers would upload videos so students can do classes, warmups, barre work and across the floor whenever they chose to so they wouldn’t have to miss out on a Zoom meeting time or class,” Director Tara Lennstrom said. “Financially it was rough because I wasn’t making a profit off of that. The hope was when we opened up again, we could just resume where we left off.”

The outdoor stage at Port Jefferson Dance Academy. Photo from PJ Dance Academy

When they opened back up during Phase 4, they picked up on rehearsals for their recital. Normally the dancers perform at the Staller Center at Stony Brook University but were unable to due to COVID. She decided to hold an outdoor recital, instead. 

“I rented a giant dance floor with a DJ to play the music and people didn’t feel like they were behind the shopping center,” she said. “It was one of the most difficult recitals I’ve ever had to put together, but it was probably one of the best.”

Now in its 26th year, her classes look a little different. “We have 10 students per class, and I have a rather large studio, so that gives us ample space to dance,” she said. “People seem to be happy that there is something for their kids to do that’s fun and creative.”

Decked in their leotards and masks, Lennstrom said her students are not even phased by the new guidelines anymore.

“The resilience these kids have just shows you how they were able to adapt and how flexible they are,” she said.

Gabrielle Cambria, special productions manager at Chorus Line Dance Studio in Smithtown and Miller Place, said opening back up under the new guidelines was a no-brainer.

Ballerinas must stay within their boxes at Chorus Line Dance Studio in Smithtown. Photo by Julianne Mosher

“We all know that physical health isn’t the only health you need,” she said. “Everyone’s been really lucky and safe at our studio, and we’ve been dancing ever since.”

Chorus Line also implemented a large TV screen into their classrooms so students can Zoom in from home. 

“Our in-class group is cut in half, so they go back and forth each week,” Cambria added. 

Chance to Dance in Setauket did the same thing and opened up a Google Classroom account back in April.

“Anybody can take virtual class if they want to,” Jennifer Kranenberg, studio owner said. “If they’re not comfortable yet coming to class, they can still do something.”

Kranenberg said the virtual option was one positive that came out of COVID, because it allows students to makeup a class from home, or if they’re feeling slightly under the weather, they can still dance online. 

Young members of Chance to Dance studio in Setauket are also being recorded and livestreamed for other members not present. Photo by Julianne Mosher

At the start of the pandemic, Kranenberg said she knew how important the social aspect was for her students, so she added bonus weekly fun calendar of events including show and tells, Netflix movie nights, tea parties and family game nights online so her kids could still communicate virtually. She also featured her graduating seniors on social media, along with a surprise graduation car parade and a small, socially distanced prom. 

“I gave a huge piece of myself to make sure that the kids were having fun, staying engaged and getting to be with each other, having interactions with their dance friends,” she said. “It goes a long way.”

And, like the other studios, she faced similar challenges. She had to cut one of her three rooms to maintain a cap on students. “Enrollment is definitely low,” she said. “I wish it was higher than it was, but it’s not awful. I feel hopeful, but I’m scared. I feel like it’s a tight margin financially to, swing it and to get by.”

Miss Gwenn and her students at Backstage Studio of Dance in Port Jeff Station. Photo by Julianne Mosher

being in different locations with different students and classes, all four owners can agree that being back with their students was worth the hardship they faced the last nine months.

Capodieci said that her first day back in the studio she cried when she saw her students. 

“I love teaching dance,” she said. “I love my kids. I want to be with them, and if wearing the mask allows us to dance then we have to wear a mask.”

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Principal dancer Diana Atoian

The Ballet Education and Scholarship Fund, Inc. (BESFI) has announced that its 38th annual benefit performances will be held Friday, May 26, at 7 p.m. and Saturday, May 27 at 2 p.m. at Stony Brook University’s Staller Center for the Arts, 100 Nicolls Road, Stony Brook.

The program will feature three noted guest artists: Boyko Dossev formerly with Boston Ballet, Darren McIntyre formerly with Milwaukee Ballet and Alan Alberto with the Festival Ballet. They will be paired with Seiskaya Ballet principal dancers Jenna Lee, Diana Atoian and Brianna Jimenez and join 1st soloists Amber Donnelly, Jamie Bergold, Graciela Carrero-Sagona and Ava Aubé in a series of exciting pas de deux. Among the pas are Paquita, Talisman, Le Corsaire, Harlequinade and Diana & Acteon, plus, the Swan Lake Pas de Trois.

The Benefit Program’s centerpiece will be the one-act ballet, Walpurgis Night featuring Seiskaya Ballet’s Diana Atoian and 1st soloist Max Lippman. Set to the vibrant music of Charles Gounod and drawn from the opera Faust, Walpurgis Night loosely depicts the celebration of Bacchus (the god of wine and revelry), the Bacchantes (his priestesses), and Satyrs (his demigod attendants), on the eve of May Day. Three rousing character ballets are intertwined in the program. Featuring the tantalizing Gypsy Dance led by Jenna Lee, the jaunty Gypsy Pas pairing Max Lippman and Seiskaya 1st soloist Lara Caraiani, and the robust ethnic dance Siberian round out the program.

Noted for the consistent high quality of its presentations, the BESFI Benefit is always a highlight of the dance season. Brilliant sets and costumes, noted professional guest artists and riveting choreography make for exciting performances. Tickets are on sale now through the BESFI Box Office at 631-584-0192 or at the door with adults, $30, children and seniors, $24 and groups of 20 or more, $20.

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A scene from the New York Dance Theatre's 'The Nutcracker.' Photo from Frank Ohman.

New York Dance Theatre, under the direction of former New York City Ballet soloist Frank Ohman, will present its 35th season of “The Nutcracker” at Hofstra University, 1000 Fulton Ave., Hempstead, on Dec. 17 and 18 at noon and 5 p.m. on both days.

With the elegant Christmas party scene, the battle of the toy soldiers and giant mice, the live snow storm and the brilliant dancing in the Land of the Sweets, “The Nutcracker” will appeal to all ages. Special guest artists Alicia Holloway and DaVon Doane of the Dance Theatre of Harlem will appear as the Sugarplum Fairy and her Cavalier. Philip Leclose, who performed the role of the young Prince for two consecutive years at Lincoln Center, will appear in that same role in Ohman’s 2016 production. In all, a cast of 80 children, pre-professional and professional dancers will bring this classic story ballet to life on the stage of Hofstra’s John Cranford Adams Playhouse.

Tickets for this full production ballet are $42 adults, $32 seniors and children 12 and under and may be purchased online at www.ohmanballet.org or by calling 631-462-0964.

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Last year's performance of 'The Nutracker.' Photo courtesy of Harbor Ballet Theatre.

By Kevin Redding

Toy soldiers, angels, sword-wielding mice and a sugar plum fairy are back in town to spread the magic of Christmas to audiences young and old.

For more than two decades, the North Shore community has looked to Port Jefferson’s Harbor Ballet Theatre to officially kick off the holiday season each year with its dazzling production of Tchaikovsky’s “The Nutcracker.”Coming up on its 25th anniversary production, the not-for-profit dance company gears up to deliver another unforgettable spectacle. John Worrell, executive artistic director of the show, said that the calibre of their production has helped it become a holiday tradition among the community.

“The dancing, the dancers, the choreography and the sets are incredible,” said Worrell. “Just the way that we tell the story is very understandable and very easy for everyone to follow. It really sets the tone for Port Jefferson and Setauket and Stony Brook and Miller Place because everybody gravitates to get that holiday feeling.”

Harbor Ballet Theatre was founded in 1991 by Worrell and his wife Amy Tyler as an open company to give dancers of all ages the opportunity to be part of professionally staged ballet productions. Worrell said it was also created to allow anybody from anywhere to come and audition, which is why there are so many new faces on a year-to-year basis as well as longtime dancers.

Last year's performance of 'The Nutracker.' Photo courtesy of Harbor Ballet Theatre.
A scene from last year’s performance of ‘The Nutracker.’ Photo courtesy of Harbor Ballet Theatre.

This production will feature about 70 performers, a majority of them between the ages 6 and 25. Auditions were held in the second week of September and the first rehearsal took place on the first weekend of October, giving way to 10 to 12 strenuous yet worthwhile rehearsals before the final show. Some of the senior dancers in the show even committed six to seven days a week for at least two hours a day to rehearsal.

“That whole debate whether dance is a sport … they [dancers] train like athletes,” said Worrell. “They work drills everyday. To be able to get to the level they want to be and be able to do their solos in the second act and lift each other up, they have to work their butts off.”

Richard Liebert and Rebecca Stafford, seniors from Earl L. Vandermuellen High School, are among some of the more experienced dancers in the production. Liebert, who plays the Mouse King, said there are a lot of physical challenges.

“There are times [in the show] where I have to lift a girl over my head and turn her,” said Liebert. “It could be a bit intimidating … but it’s worthwhile. I love doing it.”

“We’re with our friends, so we’re having fun,” said Stafford, who plays Harlequin.

Worrell said that at the start of production, he and Amy watched the DVD from the previous year’s show and figured out what, if anything, they wanted to change. The most common changes year-to-year have to do with solos, which depend on the dancers in the show, what their strengths are, and what they feel most comfortable doing.

Worrell said that there are plans to add a new element this year but wants to keep it a surprise and “make sure that it works first.”“We try to add something new every year, every two years … just to keep it fresh, so the audience will find it fun to watch,” he said.

Join Harbor Ballet Theatre in celebrating its 25th anniversary of “The Nutcracker” and prepare to be swept away by the extravagant sets, rich costumes, passionate acting and dancing and Tchaikovsky’s masterful music.

Performances of “The Nutcracker” will be held on Friday, Dec. 2, at 8 p.m., Saturday, Dec. 3, at 3 and 8 p.m. and Sunday, Dec. 4, at 3 p.m. at Earl L. Vandermuellen High School, 350 Old Post Road, Port Jefferson. All seats are $25 in advance, cash or check only. For more information, please call 631-331-3149.

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A scene from a previous production of ‘The Nutcracker.’ Photo from Dimitri Papadakos

The Seiskaya Ballet School is always on point, especially around the holidays. For the past 21 years the company has performed its rendition of “The Nutcracker” at Stony Brook University’s Staller Center and this year is no different.

“Christmas is [The] Nutcracker,” said Valia Seiskaya. Russian-born Seiskaya has choreographed the school’s “Nutcracker” since 1995 when they started performing the production at the Staller Center. While “The Nutcracker” is popular around the holiday season, the ballet school took a theatrical approach to the performance. Dimitri Papadakos, the ballet school’s administrator and Seiskaya’s husband, said the  performance will include a flying sleigh, a dragon that blows smoke and other elements that will bring the performance to life.

“If you’re going to do something you might as well try to do it better than anybody else,” Papadakos said. “So we got creative in our sets.”

The backdrops for the school’s annual production are tailored specifically to the Staller Center stage. Viewers can get a hint of scenes to come by looking at the backdrops during the performance. While the production is designed for a full theatrical experience  that will keep even the youngest audience members glued to their seats, the dramatic setting isn’t the only captivating aspect of Seiskaya’s “Nutcracker” — it’s also about the acting and dancing of the production’s 90- to 100-member cast.

Soloist Diana Atoian is returning for another shot at “The Nutcracker.” Like many “Nutcracker” performers, 14-year-old Diana has several roles including Clara. She said what makes Seiskaya’s rendition of “The Nutcracker” so unique is the dancers dedication to their craft.

“It’s just the passion that gets us going,” Diana said. “Valia is a very good teacher. She helps us feel it and she makes us want to keep pushing and keep moving forward.”

Her fellow soloists, 13-year-old Madison Mursch, 12-year-old Brianna Jimenez and 14-year-old Jenna Lee agreed that Papadakos and Seiskaya push their dancers to execute the choreography and acting correctly. Being strict is part of Seiskaya’s method and it has been since the school was established in 1974.

“My wife does not believe in dumbing down based on who’s available,” Papadakos said. “You’ve got to rise to the occasion.”

Last year the school lost a handful of its older dancers who went on to college. The change left youngsters like Diana, Madison, Jenna and Brianna to take the lead on bigger roles like Clara, the Snow Queen, Sugar Plum and the Chocolate Soldier, respectively. Twyla Tharp Troupe dancer Nick Coppula will be returning to reclaim his role as the Cavalier this year.

Viewers can see these young dancers and get the full theatrical experience on Friday, Dec. 18, at 7 p.m., Saturday, Dec. 19, at 2 and 7 p.m., Sunday, Dec. 20, at 1 and 6 p.m. and Monday, Dec. 21,  at 7 p.m. at the Staller Center for the Arts at Stony Brook University. Tickets are $40 for adults, $34 for children and seniors and $30 for groups of 20 or more. For more information call 631-632-ARTS or visit www.nutcrackerballet.com.

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