The Nutcracker - State Theatre

Graham Lustig’s
The Nutcracker
present
presented ed by
American Repertory Ballet

Welcome! 2
The State Theatre in New Brunswick, New Jersey
welcomes you to the school-day performance of The
Nutcracker. We’re delighted to have you experience
American Repertory Ballet’s fully-staged, full-length
production of this popular story ballet.
These Keynotes provide information and activities
that will help you follow and enjoy the show. We hope
it will also help you find connections between what you
see on the stage and your own personal experience.
Look for the ballet shoes next
to activities and discussion
questions.
CONTENTS
Welcome/Acknowledgements....................................................2
The Story ........................................................................................3-4
A History of The Nutcracker ........................................................5
About This Production ..................................................................6
In the Land of Sweets ....................................................................7
Ballet Basics........................................................................................8
Talking Ballet ....................................................................................9
Activity: Design a Set ..................................................................10
Nutcracker Crossword ................................................................11
More to Do......................................................................................12
Getting Ready for the Show......................................................13
Puzzle Solutions ............................................................................14
Keynotes are made possible by a
generous grant from Bank of
America Charitable Foundation.
The State Theatre’s education program is funded in part by Bank of America Charitable Foundation,
Bristol-Myers Squibb, Brother International Corporation,The Horizon Foundation for New Jersey,
Johnson & Johnson Family of Companies, the John F. Kennedy Center for the Performing Arts, J. Seward
Johnson, Sr. 1963 Charitable Trust, The Blanche and Irving Laurie Foundation, McCrane Foundation,
MetLife Foundation, Mid Atlantic Arts Foundation, National Starch and Chemical Foundation, Inc., PNC
Foundation, Provident Bank Foundation, Robert Wood Johnson Foundation, Verizon, and Wachovia
Foundation. Their support is gratefully acknowledged.
Funding has been made possible in part by
the New Jersey State Council on the
Arts/Department of State, a partner agency
of the National Endowment for the Arts.
Continental Airlines is the
official airline of the State
Theatre.
Keynotes are produced by the Education
Department of the State Theatre, New
Brunswick, NJ.
Wesley Brustad, President
Lian Farrer, Vice President for Education
Keynotes for The Nutcracker written and
designed by Lian Farrer, edited by Katie Pyott
© 2008 State Theatre
Nutcracker set and costume designs by Zack
Brown.
The State Theatre, a premier nonprofit venue
for the performing arts and entertainment.

The Story 3
Graham Lustig, the American Repertory Ballet’s artistic director, created this production of The Nutcracker. In the story
below, are there any details that are different from other versions of the story you have seen or read? What’s different?
Act I: The Party
The year is 1915 and Marie, her family, and friends have just
finished eating a big Christmas Eve dinner, ending with heaps of cakes
and sweets. Father and his friends have stepped outside for a breath of fresh
air, and Mother is still seated at the table chatting with Aunt Edith and her
friends.
As everyone comes back inside to warm up, Marie watches as a young
cadet (soldier in training) pays attention to her beautiful older cousin,
Vera. Marie dreams of a time when she, too, will enjoy the attentions of
a gallant young man. Aunt Edith is horribly teased by Marie’s naughty
brother Fritz, who pesters her with a pet rat that he stole from the
pocket of one his cousins.
As the children begin quarreling, Uncle Drosselmayer draws
their attention by announcing that it is time to open the
Christmas presents. Before the children open the gifts, they watch a special
Marie
entertainment that has been arranged by Uncle Drosselmayer. First, two tiny clown
dolls delight everyone. Then Fritz gives a demonstration of his sword skills.
At last the presents are opened. Marie is surprised and delighted with her
unusual gift: a nutcracker. Fritz and his two friends tease Marie and snatch away
her nutcracker. In an instant it is broken. The nanny is there to give some of her special
healing to the situation and soon everyone is happy again.
Has it all been a Dream?
Marie looks back to see everyone suddenly hidden by the giant curtain. She
cannot believe her eyes when two rats appear, dressed just like her party
friends. Soon other rats emerge, searching for cake crumbs. Marie is so
the Rat King
terrified that she faints. Uncle Drosselmayer appears and tenderly
places her on the sofa, where her dreams carry her to a magical
kingdom.
The Battle
Marie dreams that the Rat King has taken possession of the
cake and that the toy soldiers, led by the Nutcracker, are battling
for victory. When the Nutcracker is captured, only she can help
him escape. She stabs the Rat King so badly that the
Nutcracker is set free. Fearing that the Nutcracker is
injured, Marie cradles him in her arms. Suddenly he
turns from wood into a handsome young prince.

The Story 4
Marie and the Prince leave the Frozen Forest.
In The Frozen Forest
The Prince leads Marie to the Frozen
Forest. In this place live beautiful snow
maidens and adorable snowballs who
entertain her with their skating dance. A
balloon shaped like a Christmas
ornament transports Marie and the
Prince to a faraway magical kingdom.
Act II: The Land of Sweets
Marie and the Prince arrive in a lovely land of candy
and sweets, where they are greeted by the Sugar
Plum Fairy and her cavalier. After the bonbons
have entertained Marie with their dancing,
three tiny mice leap from the throne. The
Prince captures them. He is about to slice
off their tails when Marie begs him to
stop.
Pleased that Marie has saved the
mice, the Sugar Plum Fairy arranges
a command performance. Marie
is charmed by the many
wonderful entertainers who come
from Spain, China, Arabia, Russia,
and Germany to dance for her. The Prince
presents Marie with a beautiful bouquet of
dancing flowers. Mother Ginger and her
little clowns are full of fun and mischief.
Finally the Sugar Plum Fairy and her
cavalier create a dazzling display. As the
dream draws to a close, Marie suddenly
feels so sleepy that she can barely keep her eyes open.
Back at Home
production designer
Zack Brown’s sketch
for the Sugar Plum
Fairy’s costume
Uncle Drosselmayer escorts Marie back to the safety of home and the
comfortable sofa where her journey began. When Marie awakens, her
thoughts are spinning with the happy memories of her amazing
adventure while she still holds in her arms her precious Nutcracker.
Exploring
the Ballet
Ballet dancers tell stories without using
any words. Working in a small group with
some of your classmates, pick one part of
the Nutcracker story to act out without
speaking. Be sure to include the nonhuman
characters such as the mice and
the snowballs. After rehearsing your
group’s part, put all the groups together
for a performance of the whole story.
Create a travel poster for the Land of
Sweets. What words and pictures can you
put on your poster to make people want
to visit there?
Fun F ac t:
Sugarplums were a traditional
Christmas treat in England for
hundreds of years. Not actually
made from plums, they were small,
plum-shaped candies made from
nuts or seeds coated in several
layers of sugar.

A History of The Nutcracker 5
In 1816, the German writer E.T.A. Hoffmann published The Nutcracker
and the Mouse King, a frightening story involving a bloody battle
between a nutcracker and a seven-headed mouse. He wrote it for adults,
and did not intend it for children. In 1844 Alexandre Dumas (the author
of The Three Musketeers) adapted Hoffmann’s
ADAPT - to change story for younger audiences.
something so it can be It was Dumas’ version of the story that
used for a specific sparked the interest of Marius Petipa, the
purpose or for a senior ballet master of the Russian Imperial
specific audience Ballet. He hired the Russian composer Pyotr
Ilyich Tchaikovsky to write a score for the
SCORE - the music
production. The choreography was created
written for a ballet,
by Petipa and Lev Ivanov. The first
play, film, opera, or
performance of their new Nutcracker ballet
other performance
was on December 18, 1892 in St. Petersburg,
CHOREOGRAPHY - Russia. The audience and critics did not like it
the steps, body very much at first.
movements, and
The Nutcracker was not performed outside
patterns used in a of Russia until 1934. It was first presented in
dance
the U.S. in 1944, by the San Francisco Opera
Ballet, with new choreography by Willam
Christensen. One of the most famous productions of the ballet was
created by the New York City Ballet in 1954, choreographed by George
Balanchine. Since then, The Nutcracker has become one of the bestloved
performances of the Christmas season. Hundreds of ballet and
theater companies all over the world perform it every year. American
Repertory Ballet’s Nutcracker, with choreography by Graham Lustig,
premiered in 2000.
Write a
Review
Though it is one of the most popular
ballets today, The Nutcracker was not very
successful when it was first performed in
1892. One critic wrote:
For dancers there is little in it, for art
absolutely nothing, and for the artistic
fate of our ballet, one more step
downward.
After you see the performance, write
your own review. Do the words of the 1892
reviewer above reflect the production that
you saw at the State Theatre? Include
comments on the music, the dances and the
costumes, and be sure to explain why you
liked or disliked a particular part of the
show.
About the Composer
Pyotr (Peter) Ilyich Tchaikovsky (1840-1893) was a Russian composer, conductor, and music
professor. He began writing music at age 14 and went on to compose operas, symphonies,
piano and violin concertos, and other pieces. He is considered by many to be the greatest
composer of music for ballet. In addition to The Nutcracker, Tchaikovsky also wrote the
music for the ballets Swan Lake and Sleeping Beauty.
During his lifetime, Tchaikovsky become enormously popular throughout Europe and abroad. On a concert tour of
America in 1891, he conducted some of his music at the very first performance at New York’s Carnegie Hall. Despite his
success, Tchaikovsky suffered from anxiety and depression. Some scholars believe that his death—he died of cholera after
drinking contaminated water—was a suicide, though this is impossible to prove.
Truly there would be a reason to go mad were it not for music.
—Tchaikovsky

About This Production 6
One of the important ways that a live performance is
different from a movie or a television show is that a live
show is different every time it is performed. Even if you
have seen The Nutcracker before, this performance will
not be quite the same.
Every ballet company that decides to create a
production of The Nutcracker begins with the same
music and the same basic story, but then they make it
their own. They design new sets, costumes, and lighting.
They may decide to leave out parts of the story or
change the order of the dances. Most importantly, their
choreographer creates new movements for the dancers.
American Repertory Ballet (ARB) has been
performing The Nutcracker for over 40 years. Their
current production comes from the imagination of Graham Lustig, ARB’s artistic director, and was
first performed in 2000. It uses more than 100 people onstage, including ARB’s professional
dancers and ballet students from the company’s Princeton Ballet School. Here are two ways that
this Nutcracker is likely to be different from other versions you may have seen:
Costumes for this
Nutcracker reflect the
clothing styles of the
Edwardian Era.
• TIME PERIOD - Many Nutcracker productions are set in the time period of the original story
(1816) or the original ballet (1892). Graham Lustig chose to set his production in the Edwardian
period (1901-1910).
• NEW CHARACTERS - Graham Lustig created three new characters who do not appear in the
original Nutcracker story: Marie’s Aunt Edith and her young daughter, Vera,
and a handsome cadet (a student training for the army) who is in love with
Vera. In watching Vera and her boyfriend, Marie gets caught up in dreams of
falling in love—in her imagination it is with the Nutcracker Prince.
Setting The Nutcracker
American Repertory Ballet’s Nutcracker takes place during the Edwardian era
(1901-1910), the period when Edward VII was King of England. It was a time of
great change, especially for women. Though they still did not have the right to
vote, women began to gain more freedom and economic opportunities. Clothing
styles became more relaxed and flowing, allowing women to be more physically
active.
Research: When did women gain the right to vote in Great Britain?
In the U.S.?
If you were designing your own production of The Nutcracker, when would you
have it take place? What would the costumes look like? Draw your designs or cut
out pictures from magazines to illustrate your ideas.
An Englishwoman dressed for bicycling,
1909

In the Land of Sweets 7
The second act of The Nutcracker begins in the
Land of Sweets. The Sugar Plum Fairy has a
special treat for her guests, Marie and the Prince.
She has dancers from many countries perform
their colorful dances. Here are the dances you will
see in the Land of Sweets:
Spanish Dancers - This dance is based on a
Spanish folk dance called a jota, which is
performed with a partner. It has a swirling
lightness that suits Tchaikovsky’s music.
Arabian Dancers - This dance unfolds like a
melody floating through the air on a warm
summer night. The oboe plays a long,
flowing melody that is reflected in the
dancers’ movements. Their pas de deux
ends with the woman being carried aloft,
as if her spirit is suddenly set free.
Chinese Dancers - This dance is based on the
legend of the Emperor and the Nightingale. The
female soloist has been "caught" by four
young emperors. She attempts to fly
away, but she is held by ribbons
tied to her wings. This flashy
solo for the ballerina ends
with a difficult series of
turns.
Arabian Dancers
Russian Dancers - These dancers perform a fast and
exciting folk dance called a trepak, from Russia and Ukraine.
Instead of ballet slippers, the dancers wear boots that help
show off the heel-clicking jumps and spins.
German Dancers - In contrast with the wild Russian
Dancers, the German Dancers perform precisely controlled,
intricate, and delicate steps. Their challenge is to make this
technically difficult dance look easy and relaxed.
Waltz of the Flowers - The Nutcracker Prince presents
to Marie a "bouquet" of six dancing flowers. Soon the
Nutcracker Prince invites Marie to join their dance. This
dance expresses the growing love and joy that Marie feels
for the Prince, as she is literally swept off her feet.
Polichinelles and Mother Ginger -
Polichinelles are little clowns that come from
the Italian commedia de l'arte tradition. These
characters are full of mischief and charm. Mother
Ginger proudly watches over them. They bring
Marie into their merry dance.
Grand Pas de Deux - The Sugar Plum Fairy and
Cavalier perform in a grand and formal style. A technical
showcase, their dance includes spectacular lifts and
turns. Their duet is followed by brilliant solos for each
dancer plus an exciting coda (ending). The courtly
gestures that Graham Lustig choreographed into this
pas de deux hearken back to the old, classical style of
dancing that was in fashion when the original Nutcracker
was created in 1892.
Dances of Many
Lands
While you are watching the different dances in the Land of
Sweets, pay attention to the costumes, the music, and the
choreography for each dance. How are the dances the
same? How are they different?
On a map, find the different countries represented by the
dances in the Land of Sweets. What do you know about
the history and culture of these countries?
What kinds of dances have been passed down in your
family? What country do they come from? What do these
dances look like? When do you dance them? Are there
special shoes or costumes? What kind of music is played?

Ballet Basics 8
Ballet is a style of dance that is more than 350 years old. It is different from other types of dance because it has very
particular rules about how the dancers stand and move. Ballet dancers train for many years to learn the special techniques
needed to perform in this style.
Ballets are created using a specific vocabulary of positions and movements of the body.
It all begins with five basic foot positions:
FIRST POSITION
SECOND POSITION
THIRD POSITION
FOURTH POSITION
FIFTH POSITION
There are also five basic arm positions:
FIRST POSITION
SECOND POSITION
THIRD POSITION
FOURTH POSITION
FIFTH POSITION
Keeping on Their Toes!
In the performance, you’ll see many of the female dancers performing en
pointe—on the tips of their toes. In this technique, the dancers appear
to be floating. It takes years of special training and lots of practice for a dancer to
be able to do all those steps and turns while balanced on the ends of her toes. It
also takes special shoes—pointe shoes—that are designed to make it easier to
dance en pointe. Here’s what makes them work:
RIBBONS - Hold the shoe on the foot. They are made of cloth and tied with a
special flat knot. The ribbons are crossed over the ankle to help give support—
the same reason athletes “strap up” their ankles with tape.
SHANK - The “backbone” of the shoe. This stiff inner sole is made of heavy
leather. The shank helps transfer the dancer’s weight from the toes into the
arch, which is the strongest part of the foot.
BOX — Made of layers of cloth hardened with glue. This stiff inner shell is like
a protective helmet for the dancer’s toes, softening the impact of steps and
jumps. Even with this protection, a dancer’s toes can sometimes start to bleed
from dancing en pointe.

Talking Ballet 9
Ballet began in France more than 300 years ago. For this reason, most of the
vocabulary used in ballet today is French. Here are some common ballet terms:
ARABESQUE (are-ah-BESK) - a position where the dancer stands on one leg
with the other leg stretched straight out behind, parallel to the floor
arabesque
ATTITUDE (ah-tee-TUDE) - a position where the dancer stands on one leg with
the other leg curved to the back
BARRE (BAR) - a horizontal wooden bar fastened to the walls of the ballet
studio. The dancer holds onto it for support while practicing. Every ballet class
begins with exercises at the barre.
BATTEMENT (bat-MAHN) - a movement in which one leg is extended
and then “beaten” against the other leg, the other foot, or the floor
CHAÎNÉS (sheh-NAY) - a series of quick turns done moving forward in
a straight line or circle
CHASSÉ (shah-SAY) - a series of steps where one foot “chases” the other
across the floor
CORPS DE BALLET (CORE duh ba-LAY) - the dancers in a ballet who do
not perform a solo part
DÉVELOPPÉ (day-vlaw-PAY) - a move in which one leg is raised with the knee
bent, then slowly extended into an open position
attitude
plié with turnout
EN POINTE (ahn PWAHNT) - dancing on the tips of the toes. Dancing en
pointe gives the impression of floating on the air. In ballet, only women dance
en pointe.
FOUETTÉ (fweh-TAY) - a quick “whipping” movement of the raised leg, usually
as part of a pirouette
JETÉ (zhuh-TAY) - a jump from one foot to the other in which one leg kicks out
into the air
PAS DE DEUX (PAH de DUH) - a dance for two people, usually a male and
female. The pas de deux sections of a ballet usually express
intense emotion, such as love, sadness, or joy.
PORT DE BRAS (por duh brah) - the way the arms are held and
moved
PIROUETTE (peer-oo-WET) - a whirl or spin done on one foot
pas de deux
PLIÉ (plee-AY) - lowering the body by bending the knees
TURNOUT - a basic ballet position where the feet and legs turn outward from
the hips in a 90-degree angle

Design a Set 10
Set designers work with choreographers to create the background for a ballet performance. Read the
summary of The Nutcracker story on pages 2 and 3 of these Keynotes and then choose one of the following
settings: the Party, the Frozen Forest, or Confiturembourg (“Land of Sweets”). Imagine how you would like such a setting to
appear and draw it in the space below (you may want to continue your sketches on another piece of paper). What are some of the
practical things you need to consider when designing a setting for ballet?

Nutcracker Crossword 11
The answers to the clues can all be found in these Keynotes, or you can unscramble the word list on the next page.
1. 2. 3. 4. 5.
6. 7.
8. 9. 10.
11.
12.
13. 14.
15.
16.
17. 18.
19.
20. 21.
22.
ACROSS
1. A famous ballet performed during the holiday season
3. The name of the holiday celebrated in this ballet
6. A handrail that dancers hold onto during class,
warmups, or practice
7. The Nutcracker has a fight with this furry animal.
8. Marie and the Prince travel to the Land of __________.
11. She lives in a land filled with candy.
12. Marie’s mischievous brother
13. Marie’s Uncle, who gives her the Nutcracker
15. The main character in the ballet, a girl named __________.
17. A jump where you kick one leg in the air and land on
the opposite foot.
18. The French name for a dance for two people
20. Round and white, they go skating in the Frozen Forest.
22. Russian composer who wrote the music for The
Nutcracker.
DOWN
2. Term used to describe the special way the feet and legs
are positioned in ballet dancing
4. The music for a ballet, opera, or musical is called the
__________.
5. A ballet position where the dancer stands on one leg,
with the other leg stretched out straight behind
9. The __________ of the Flowers, a dance in this ballet
10. A complete turn or spin of the body done on one foot
12. If you’re standing with your heels touching and your
legs and feet turned out, you’re in __________ position.
14. Tied with a special knot, these are used to hold the
ballet shoes on the dancer’s feet.
16. The style of dance performed in The Nutcracker.
19. Dancing en pointe means to dance on your __________.
21. The reinforced toe of a ballet shoe is called the
__________.

More to Do 12
Crossword Anagrams
Unscramble the the list of words below to help you solve the crossword puzzle on the previous page.
TRIFS ____________________________
SATHMARIC ____________________
OSTE ____________________________
BEAQREUSA ____________________
RABER __________________________
TEEJ ____________________________
ESSETW ________________________
RAMSORDEYSEL ________________
SAP ED XUDE __________________
ZITRF ____________________________
RASGU MULP YFRIA ____________
TRUKARECCN __________________
RUTTNOR ______________________
TRA ______________________________
SOBRINB ________________________
ROSCE __________________________
LWASBONSL ____________________
UTRIPTEEO ______________________
KAHVSTOYCIK __________________
LEABLT __________________________
ZATWL __________________________
XBO ____________________________
EMIRA __________________________
What’s Appropriate?
Audiences have different traditions in the ways they enjoy different kinds of events. We eat, talk, or cheer loudly at some events
but not at others. Fill out the table below showing the different kinds of audience traditions. Is the listed behavior always
acceptable (AA), sometimes acceptable (SA), or never acceptable (NA) at each kind of event?
Sports Event Watching TV Movie Rock Concert
Orchestra
Concert
Theater
Performance
Ballet
Performance
Eating
Talking
Text
messaging
Getting out
of your seat
Cheering
during the
event
Clapping
along with
the music
Applauding
at the end
Taking
pictures

Getting Ready for the Show 13
Step 1: Learn Your Part.
At the theater, you join in a special partnership between the
audience and the performers. As a member of the audience, you need
to do your part to make the show a success. During the performance,
your job is to focus all your energy and attention on what’s happening
onstage.
The way you respond to the show matters a great deal to the
performers. Laugh at the funny parts. Applaud if you like what you see
and hear!
Please remember these special rules for attending
a live performance:
Turn it off!
Before the performance starts, turn off
and put away all electronic devices:
cellphones, iPods, games, etc.
You should not be texting
during the show.
No Food!
Do not eat, drink, or
chew gum in the
theater.
No Photos!
The audience is not allowed to
take photos or make any video or
sound recording of the show.
Quiet, Please!
No talking or whispering once the show
begins. Remain quietly in your seat
during the entire performance.
Step 2: Find Out More.
BOOKS
Ballet School, by Naia Bray-Moffatt and David
Handley. DK Children, 2003
My First Ballet Book, by Kate Castle. Kingfisher,
2006
The Nutcracker, by E. T. A. Hoffmann; Ralph
Manheim (translator), Maurice Sendak
(illustrator). Crown Publishing, 2001
101 Stories of the Great Ballets by George
Balanchine and Francis Mason. Doubleday, 1975
The Young Dancer, by Darcey Bussell. Dorling
Kindersley, 1994
VIDEO
George Balanchine’s The Nutcracker. New York
City Ballet production featuring Darci Kistler and
Damian Woetzel, narrated by Kevin Kline. Warner
Home Video, 1997
The Hard Nut. A modern adaptation of The
Nutcracker by Mark Morris. Nonesuch, 1992
The Nutcracker. American Ballet Theatre
production featuring Mikhail Baryshnikov and
Gelsey Kirkland. Kultur Vide, 2004
MUSIC
The Nutcracker (complete ballet music), by Pyotr
Illyich Tchaikovsky. Kirov Orchestra and Choir,
Valery Gergiev, conductor. Polygram
The Harlem Nutcracker, by David Berger, Duke
Ellington, and Billy Strayhorn. Such Sweet
Thunder, 1999. A jazz rendering of themes from
Tchaikovsky’s ballet score.
WEBSITES
American Ballet Theatre’s Ballet Dictionary.
Features video clips illustrating the dance terms
www.abt.org/education/dictionary
American Repertory Ballet
www.arballet.org
The Nutcracker website
www.nutcrackerballet.net

Puzzle Solutions 14
N U T C R A C K E R C H R I S T M A S
U C R
B A R R E O R A T
N S W E E T S P R B
O A I E E
S U G A R P L U M F A I R Y S
T T O Q
F R I T Z U U
I D R O S S E L M A Y E R
M A R I E T I
S B T B
J E T E P A S D E D E U X B
L T O
S N O W B A L L S O N
O E E S
X T C H A I K O V S K Y
Crossword Anagrams
TRIFS - FIRST
SATHMARIC - CHRISTMAS
OSTE - TOES
BEAQREUSA - ARABESQUE
RABER - BARRE
TEEJ - JETE
ESSETW - SWEETS
RAMSORDEYSEL - DROSSELMAYER
SAP ED XUDE - PAS DE DEUX
ZITRF - FRITZ
RASGU MULP YFRIA - SUGAR PLUM FAIRY
TRUKARECCN - NUTCRACKER
RUTTNOR - TURNOUT
TRA - RAT
SOBRINB - RIBBONS
ROSCE - SCORE
LWASBONSL - SNOWBALLS
UTRIPTEEO - PIROUETTE
KAHVSTOYCIK - TCHAIKOVSKY
LEABLT - BALLET
ZATWL - WALTZ
XBO - BOX
EMIRA - MARIE