NYC Ballet 2025: The Nutcracker
Emma Von Enck as the Sugarplum Fairy in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
On December 9, 2025, New York City Ballet continued their run of the George Balanchine’s 'The Nutcracker.' This Christmas classic remains a truly magical experience for audiences as they're taken to greater and more enchanting heights.
Leading the orchestra this evening was guest conductor Mikhail Agrest, who effectively illuminated all the intricacies of Tchaikovsky's timeless composition. First violinist Kurt Nikkanen continues to be a highlight on the musical side of things as his utterly evocative playing excelled throughout the upper reaches of the instrument's range. The result was often truly intoxicating moments through the overture and calmer transitional scenes, leading to a nearly-constant musical spell.
Heading up the children’s roles were Eleanor Murphy as Marie and Peter Ostling as Drosselmeyer’s Nephew/The Nutcracker. Opening the work with a fine sense of wonder, Murphy charmingly navigated Marie’s arc as the games and dances of the Christmas party gave way to the battle against the Mouse King. The energetic sequence saw Murphy quickly shake her fears before taking charge and turning the tide of battle, and playing well off Soares’ Mouse King. Her brief interactions with Ostling were cute and sincere as the two established their growing friendship through the returning handshake motif, with each instance finding the right amount of tenderness before the plot briskly moved along.
Students from the School of American Ballet Peter Ostling and Eleanor Rose Murphy in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
As The Nutcracker, Ostling made the most of his time onstage as he proved a dear friend to Marie during the party, and excelled in the lighthearted stage combat that pervades the end of the first half. His mimelogue which recounts his adventure to the citizen of The Land of Sweets was delivered articulately and with good energy which came together to infer a truly arduous tale, and draw much applause from the audience.
As Herr Drosselmeyer, Harrison Coll was a highly-effective storyteller. Through his gestures, he was able to convey ample amounts of marvel as well as mystery, seen early on in how he managed to unite the children’s attention to present the toy nutcracker with little more than a well-placed wave. His appearance after the party carried with great, parental affection as he searched for the doll in the sleeping Marie’s arms before fixing it and gently departing, whereas the transition to the mouse battle featured the godfather atop the clock and seemingly directing the ensuing magic as the bells tolled ominously.
The dancers of NYCB brought their all through the many smaller dances and divertissements which made each scene feel packed with shifting moods and much to explore. Early on we’re treated to Maya Milic and Vanessa Mlyniec as the Harlequin and Columbine dolls as they stiffly pivoted about to blow kisses at the crowd, as well as Andres Zuniga’s excellent generative power as he leapt and spun to great delight as the Soldier.
New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
Bridging the acts was the ever-beautiful and ever-challenging ‘Waltz of the Snowflakes,’ featuring dancers Olivia Bell, Kate Bivens, Naomi Corti, Gabriella Domini, Ariel Erez, Peyton Gin, Sarah Harmon, Becket Jones, Claire Kim, Ruby Lister, Vanessa Mlyniec, Grace Scheffel, Quinn Starner, Kennedy Targosz, Kylie Vernia, and Kloe Walker. These snowflakes deserve full points this evening for their handling of the brisk yet entrancing passages amid the flurry of fake white powder, all the while building to a radiant scene as the dancers filled the stage with a tightly-executed unity.
Of course, the grand divertissement which comprises the bulk of the second half was handled to splendid effect as the audience is offered number after number like one would receive presents. Revving up the tempo from the cute, beryozka gliding of the Angels, the ‘Hot Chocolate’ section brought excitement and energy through the local color of the measures and passionate choreography including swift chaíné turns from the men.
Providing a well-placed reprieve from the bright and sweet stuff was Alexa Maxwell as Coffee. The almost-brooding, clarinet-led melody was taken up with allure and sensuality as Maxwell’s controlled developpes lent their cymbal chimes to the texture. This break made the ensuing numbers all the more potent as things ramped back up with ‘Tea’ led by Spartak Hoxha and joined by Olivia Bell and Maya Milic, where Hoxha’s sensational leaps and splits were met with great applause, before passing the baton to ‘Candy Canes’ led by Daniel Ulbricht. Taking up that energy, Ulbricht delivered rapidly-executed leaps through his hoop with finesse and flair as he made the feats seem easy.
Olivia MacKinnon as Marzipan in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
Bringing a touch of adagio to the occasion were the Marzipan Shepherdesses, headed up by Olivia MacKinnon and joined by Gabriella Domini, Baily Jones, Shelby Mann, and Jenelle Manzi. Their restful port de bras and gentle renversé turns were but a few endearing highlights of this brief but elegant number. Next was a more comedic flair with Mother Ginger and her Polichinelles, the former played by McKenzie Bernadino Soares, who earlier in the night filled in for Samuel Melnikov as the Mouse King. Soares sense of timing showed itself well as he fussed over his character’s many children while traveling in the enormous, tented skirt of his costume.
Dancing the role of Dewdrop was Mira Nadon, who once again has demonstrated great expressivity and physical technique. Emerging from the corps, she quickly displayed a vivacious flair through her spritely leaps and flowing arms as she soared off and on stage bolstered by the iconic ‘Waltz of the Flowers’ theme and her nimble pointe. The flowers themselves did not fail captivate; led by Dominika Afanasenkov and Malorie Lundgren, they articulated a stunning assortment of figures which either accentuated Dewdrop, or showcased their own strengths like soft and easy battements.
Mira Nadon as Dewdrop with the Company in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
In the role of The Sugarplum Fairy, Emma Von Enck bestowed tremendous elegance to her appearances. After greeting Maria and The Nutcracker, her famous ‘Dance of The Sugarplum Fairy’ carried with great charm as her fluid passés and gliding pointe seemed to set her aloft against the fervent tones from the celeste.
Her climactic pas de deux with Anthony Huxley was sheer bliss as the two seemed to be in excellent sync, allowing for a seemingly effortless series of supported turns and deep, forward cambrés as the orchestra expounded its theme majestically. This beautiful gauntlet of choreography was expertly handled as Enck and Huxley drew great applause with a pair of caught leaps as she briefly posed from upon his shoulder, leading into promenades which burst with exultant passion, extended carries across the stage, and swooning cambres which brushed the floor, all culminating in the expertly caught fish-dive to send the audience roaring.
Emma Von Enck and Anthony Huxley as the Sugarplum Fairy and her Cavalier in New York City Ballet’s production of George Balanchine’s The Nutcracker. Photo credit: Erin Baiano
Their ensuing variations were naturally the icing on the cake as Enck and Huxley let loose with energy and panache as seen through Huxley’s touring jetes and utterly powerful pirouettes, or Enck’s gleeful passes chained through silky turns to fall into a stunning, final cambre.
New York City Ballet continues to deliver tremendous amounts of Christmas magic as dancers and musicians both showed why this work remains a perennial treasure. Balanchine’s choreography and structure create an irresistible sequence for the unfolding story, with the set and staging replete with an unabashed, festive beauty.
This year’s run of ‘The Nutcracker’ will last through mid-January, and will no doubt continue to amaze families and dance lovers of all ages.
- by Logan Martell