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After the Sweets divertissements, the white-clad couple, called Clara the Princess (Gillian Murphy) and Nutcracker the Prince (David Hallberg), dance the majestic grand pas de deux. Their spectacular leaps and sparkly step variations are dotted with hesitations and awkward, childlike hops. Suddenly, Murphy runs to the side of the stage and falls to her knees, covering her eyes and weeping. Hallberg walks over and comforts her, then draws her back into the duet. I think she's crying because she's so happy. These may be supernatural, remote virtuosos, but they share the primal feelings we think we've outgrown.

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ARTICLES BY MARCIA B. SIEGEL
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  •   MERCE CUNNINGHAM'S LONG GOODBYE  |  December 14, 2011
    Expiring dance companies either implode from suppressed internal troubles, or they just peter out quietly.  
  •   'NEW' DANCE — THEN AND NOW — GETS A FULL AIRING ON BOSTON'S STAGES, AND ON FILM  |  December 06, 2011
    November brought a dense cluster of dance events to galvanize our thinking about how dancers have re-imagined their craft and challenged their audiences over the past few decades.
  •   BOSTON BALLET BRINGS BACK JOHN CRANKO'S ROMEO AND JULIET  |  November 08, 2011
    Shakespeare's Romeo and Juliet has probably inspired as many ballet translations as The Rite of Spring .
  •   GALLIM DANCE'S BLUSH  |  October 25, 2011
    You don't want to take the title of Gallim Dance's Blush too seriously — at least not if you're expecting embarrassment, shame, modesty, confusion, those textbook signifiers of someone who'd like to creep away and hide.
  •   A BEATLE GETS A BALLET  |  September 27, 2011
    The synopsis for the new Peter Martins/Paul McCartney ballet Ocean's Kingdom reads like a pastiche of 19th and early-20th-century plots.

 See all articles by: MARCIA B. SIEGEL

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