A Former Ballerina’s View of “The Nutcracker,” Home of Childhood Dreams

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A Former Ballerina’s View of “The Nutcracker,” Home of Childhood Dreams
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From 2017: Isabel Magowan captures the enchantment of “The Nutcracker,” and the darker reality of ballet behind the scenes.

Isabel Magowan’s photographs of “The Nutcracker” at New York City Ballet capture both the ballet’s enchantment and the reality of the world behind the scenes.

“Everything is beautiful at the ballet,” people like to say, and it’s true, it is an art woven out of fantasy and improbable skill and a rarefied aesthetic that continues to inspire wonder. The most advanced C.G.I. has got nothing on the body of a dancer flying through the air on the crest of a musical wave. But such wonders are not built out of thin air.

“The Nutcracker” is like a microcosm of this world. In many ways, it’s the “gateway drug” to a lifelong love of ballet. It’s often the first work people see, as children. And for dancers, it’s often their first taste of the stage. George Balanchine’s version, for New York City Ballet, is built as a kind of stepladder to the profession: the smallest ballet students play kids in the party scene in the first act and angels in the second.

Isabel Magowan’s photographs of “The Nutcracker” at New York City Ballet capture both the ballet’s enchantment and the reality of the world behind the scenes: the waiting, the preparation, the order, and the work. Magowan once hoped to become a ballerina herself; she studied at the School of American Ballet, which produces the vast majority of City Ballet’s dancers.

The dancer who plays Marie is young, around ten or eleven years old, but must navigate an entire scene in almost complete darkness while evoking fear and wonder and keeping time with the music.And yet she remembers her experience in “The Nutcracker” as an almost magical time. Backstage, the kids would be ushered into a special room where they played games. “You had to sign in,” like a professional dancer. They got checks with their names on them.

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