In 1954, Russian choreographer George Balanchine (1904–1983), artistic director of the New York City Ballet, revived a ballet from his childhood called The Nutcracker, originally created under the direction of Marius Petipa (1818–1910) in 1892. The American public's enthusiasm was immediate in response to Balanchine's version: the sense of wonder associated with Christmas was evident in every aspect of the choreography, without its narrative dimension. This led to a series of Nutcracker performances in major cities across North America. Ludmilla Chiriaeff, founder of Les Grands Ballets Canadiens (GBC), was inspired by it. She knew that Fernand Nault (1920–2006), a Canadian who had spent twenty years in the U.S. as a dancer and repetiteur, had developed his own version with the Louisville Civic Ballet. In 1963, during a meeting in Montreal, Mr. Nault proposed to her that they stage a full performance of the ballet.
In 1964, when it was first performed by GBC, The Nutcracker was in the spirit of the times. Mr. Nault's version skillfully restored the narrative aspects of the ballet: the festive atmosphere of the first act, the importance of Drosselmeyer, the battle between the toy soldiers and the mice, all done with a touch of humor. He also included over 40 children, a component not found in some versions, such as the Bolshoi Theatre’s. Mr. Nault insisted on having young performers to convey the sense of celebration. In addition, he added "little mice" to the choreography. Thanks to the different sections of the first act, the ballet became a remarkable platform for growth, allowing each child involved in the production to take on a new role each year, anticipating the challenges to come.
We can imagine the amount of work required for rehearsal. Mr. Nault said, “The most difficult is staging the party: having the children rehearse on their own, the professional dancers, and then bringing them together. What seems so simple on stage is actually the most difficult part: getting each child, the nannies, the moms, the dads to move in harmony and creating interesting situations for all these people.” (Souvenir Program 1976).
Mr. Nault remained deeply involved in rehearsals, enjoying working with the young performers who, eager to experience the exhilaration of the stage, were thrilled to collaborate with him. He continued this work until he was 80, but from 1984 onward, he was assisted by André Laprise to ensure the ballet's continued spirit, vitality, and relevance. In 1987, for the 30th anniversary of the GBC, and to ensure the longevity of the production, the company decided to create new sets and costumes, which allowed Fernand Nault to refine his staging.
The ballet has now become a symbol of the holiday season across North America. In Montreal, Mr. Nault's version with the GBC is celebrating its 60th anniversary this year. It has become a tradition for Quebecers of all generations. It is not uncommon to see grandparents, excited to introduce their grandchildren to dance, attending a Nutcracker performance together. The magic of the ballet, the emotion it evokes, and the enchantment that radiates from it continue to captivate audiences during this joyous time of year.
Marie Beaulieu, Ph.D.
Dance Historian
