The Nutcracker - Pittsburgh Ballet Theatre

Teacher Resource Guide
Student Matinee ▪ December
4, 2015
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Teacher Resource Guide
Terrence S. Orr’s
Benedum Center for the Performing Arts
December 4—27, 2015
Presenting Sponsors
Student Matinee Sponsor
The Pittsburgh Ballet Theatre Education Department is grateful for the support of the following
Allegheny Regional Asset District
Jack Buncher Foundation
Anne L. and George H. Clapp Charitable Trust
Peoples Natural Gas
BNY Mellon Foundation
Pennsylvania Council on the Arts
Claude Worthington Benedum Foundation
Pennsylvania Department of Community and
Eat ‘n Park Hospitality Group
Economic Development
ESB Bank
PNC Bank Grow up Great
Giant Eagle Foundation
PPG Industries, Inc.
The Grable Foundation
Richard King Mellon Foundation
Hefren-Tillotson, Inc.
James M. and Lucy K. Schoonmaker
The Heinz Endowments
Henry C. Frick Educational Fund of The Buhl
Foundation
Foundation
Edith L. Trees Charitable Trust
UPMC Health Plan
Highmark Foundation
Cover photo by Duane Rieder; Artist: William Moore. Production Guide created by PBT’s Department of Education and
Community Engagement, 2015.
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CONTENTS
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About the Ballet
Double Bill: Iolanthe and The Nutcracker
Preserving the Choreography—Notation and The Nutcracker
Did You Know? Hoffmann’s The Nutcracker and the Mouse King
Important Dates for The Nutcracker Ballet
Characteristics of a Story Ballet in the Late 19th Century
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The Composer: Peter Ilych Tchaikovsky
A Nutcracker Innovation: The Celesta
What is The Nutcracker Suite?
Did You Know? Tchaikovsky’s Nutcracker
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Cast List and Setting for PBT’s The Nutcracker
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Synopsis
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The Pittsburgh Connection
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The Choreography
Signature Steps—Piourette and Balancé
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The Costumes
The Scenic Design
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Getting to Know PBT’s Dancers
The Benedum Center
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Accessibility
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Activities
Nutcracker Word Search
It’s Nutcracker Time! Clock Activities
Kaufmann’s Christmas Storybook
Nutcracker Map Activity
Stick Puppets Template
Listening Guide
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Entry Pointes (Aligned with PDE Academic Standards)
PA Core Standards for English Language Arts PDE Academic Standards 1.1-1.5)
PA Core Standards for Mathematics (PDE Academic Standards 2.1-2.11)
Science and Technology and Engineering (PDE Academic Standards 3.1-3.4)
Environment and Ecology (PDE Academic Standards 4.1-4.5)
Civics and Government (PDE Academic Standards 5.1-5.4)
Economics (PDE Academic Standards 6.1-6.5)
Geography (PDE Academic Standards 7.1-7.4)
History (PDE Academic Standards 8.1-8.4)
Arts and Humanities (PDE Academic Standards 9.1-9.4)
Heath, Safety and Physical Education (PDE Academic Standards 10.1-10.5)
Family and Consumer Sciences (PDE Academic Standards 11.1-11.4)
World Languages (PDE Academic Standards 12.1-12.6)
Career Education (PDE Academic Standards 13.1-13.4)
Business and Computer IT (PDE Academic Standards 15:1-15:9)
Student Interpersonal Skills (PDE Academic Standards 16:1-16:3)
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Lexile Reading Measures List
Elementary Synopsis
Word Search Answer Key
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November 2015
Dear Educator:
This is a particularly busy time of year for students and teachers, both at school and at home. So
we especially appreciate that you have taken the time to plan for, organize, and execute a visit to
the Benedum Center to see Pittsburgh Ballet Theatre’s The Nutcracker. We know you will not be
disappointed—it is one of Pittsburgh’s favorite holiday traditions.
But The Nutcracker is more than a holiday activity for your class. We invite you to explore this
ballet, one of the most beloved of all time, even before you come to the Benedum. This resource
guide for The Nutcracker includes:
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background information about the history of the original ballet and about PBT’s unique
Pittsburgh-themed version.
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lesson prompts—which we call Entry Pointes—aligned with PDE academic standards, to assist
you in extending the experience of The Nutcracker into your classroom. These prompts will help
you engage students in history by exploring the Pittsburgh elements of the ballet, connect students with science and math through thematic and theater-based activities, and even encourage students to explore the cultures represented in the ballet’s ethnic dances.
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A listening guide and suggestions for musical activities that bring Tchaikovsky’s masterpiece
into closer focus. Select excerpts of Tchaikovsky’s music are included on the enclosed CD.
We offer dozens of options to help prepare your students for their experience at the Benedum and
we hope you will take advantage of all the learning opportunities associated with attending a ballet.
We welcome you to the theater on December 4th to discover The Nutcracker and the art and
discipline of ballet. Thank you for your commitment to incorporating the arts into your curriculum
and to promoting arts experiences for your students. Let us know how we can help you engage,
connect, and explore the arts with your classroom.
This year we are also thrilled and proud to present a sensory-friendly performances of Peter Pan
on February 12, 2016. Please visit our website for more information (http://www.pbt.org/sensoryfriendly-performances) and pass the word to friends and colleagues who might know or work with
children or adults who might benefit from this performance.
We wish you a successful school year and look forward to seeing you at the Benedum!
Sincerely,
Terrence S. Orr
Artistic Director
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About the Ballet
The Nutcracker ballet was created in 1892 in
Russia, which at the time was ruled by a Czar.
In the capitol, St. Petersburg, the famous
Imperial Theatre School and the Mariinsky
Theater were supported by the royal family.
Respect for art and music was a highly regarded
czarist tradition.
The Imperial Theater regularly created music,
opera and ballet programs for the entertainment
of the Czar. The Theater’s director, I. A. VsevoOriginal sketch for the set of The Nutcracker, Act II, 1892
lozhsky, decided to create a ballet based on a
rather dark story, The Nutcracker and the Mouse King. Written in 1816 by German Romantic author
E.T.A. Hoffman, the story was widely known in Russia. It had been adapted in 1844 by French
author Alexandre Dumas (author of The Three Musketeers), whose version is seen by some as a
simpler, lighter and less frightening story.
Marius Petipa, the ballet master at the Imperial School, was given the task of translating the story
into ballet. Because he didn’t read German, he wasn’t familiar with Hoffmann’s book and instead
used Dumas’ revision (Histoire d'un casse-noisette) as the basis for the ballet.
Vsevolozhsky contracted with Peter Ilyich Tchaikovsky to create the score. Petipa and Tchaikovsky
had worked together on the very successful 1890 ballet The Sleeping Beauty. Petipa gave
Tchaikovsky detailed musical notes, even down to the number of bars and the tempo. For the
“Arabian Dance” (called “Coffee” in Petipa’s original) the choreographer’s instructions read:
COFFEE. Arabia. The kingdom of Yemen. Coffee mocha. Oriental Dance. From 24 to 32
bars of charming and voluptuous music.
When Petipa became ill his assistant, Lev Ivanov, took over the project. There is still debate as to
how much of the choreography was created by each.
The Nutcracker premiered at the Mariinsky Theatre in December 1892, along with Tchaikovsky’s
opera, Iolanta, which was performed first. (In France
it was common to perform a ballet following an opera;
Russia sometimes adopted this French tradition.) The
audience and critical reaction to the ballet was mixed.
Critics generally liked the “snow” scene but were
annoyed with—among other things—the prominence
of children in the ballet, the deviation from the original
Hoffmann tale, and the fact that the showcase for the
ballerina (the “Dance of the Sugar Plum Fairy”) didn’t
occur until almost midnight (due to Iolanthe being
staged first). The score was much better-received,
and was recognized by most critics for its beauty and
Original cast of The Nutcracker, 1892 Image source
inspirational melodies.
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The ballet wasn’t particularly popular in Russia and was performed only sporadically and in
shortened versions for several decades. It was first performed in Great Britain in 1934 and was
brought to the United States in 1944 (first performed here by San Francisco Opera Ballet). George
Balanchine’s 1954 version for New York City Ballet popularized the ballet, and it soon became a
Christmas holiday tradition in the U.S. Today hundreds of versions of the ballet are performed every
year.
Double Bill: Iolanthe and The Nutcracker
Ballet and opera have a long, intertwined history. Opera came into development at almost the same
time as ballet did in the mid-17th century, except in Italy. However, when opera migrated to France,
the government rolled the production of both art forms together in the creation of the Royal
Academy of Music (later the Paris Opera) in 1669. As French opera became more serious in tone
and tragic in content over the latter part of that century, ballet bits or
divertissements were thrown in as “leavening” to lighten the mood or
would focus entirely on le merveilleux: the marvelous (think spectacle and
grandeur). The Italians took a different route, and instead of meshing
ballet within the story of the opera, they segregated them: ballets were
independent spectacles performed in between the opera’s acts. Up until
the mid-19th century, most opera companies had their own resident
ballet companies at their disposal for mounting productions.
What many don’t realize is that The Nutcracker actually started on a
double-bill with Tchaikovsky’s opera, Iolanthe, a story about a blind
princess who, when she finds true love, recovers the sight she never even
realized was missing. Some scholars point out that this double-bill
intentionally placed the darker story of Iolanthe before the more
saccharine Nutcracker, something which would temper the music and
Medea Mei-Figner, originator of the
narrative flaws of both pieces, but especially of The Nutcracker, which
role of Iolanthe. Image source
never captivated Tchaikovsky’s attention the way The Sleeping Beauty
did and whose libretto lacked the depth of the earlier work. The total length of the evening with both
performances was over four hours, a far cry from PBT’s two hour version!
Preserving the Choreography—Notation and The Nutcracker
Have you ever played the childhood game “Telephone?” Where you whisper a phrase in someone’s
ear, who passes along what they heard to the next person, and so on and so forth until you get to
the end? Most of the time, what is at the end doesn’t sound much like the first phrase at all! For the
most part, prior to video technology, this was how dance was passed down and taught—person to
person, from people who danced in a production and relied on their memory to teach it to others.
Occasionally, there have been a few dance notation systems that have attempted to capture
choreography in writing. One of these systems, the Stepanov system, was developed by Vladimir
Stepanov in 1892 to document the ballets for the Imperial Theatre of Russia.
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While we don’t have notation from the
original production in St. Petersburg in
1892, we do have notation from Nikolas
Sergeyev, a dancer with the Mariinsky
Ballet during Marius Petipa’s final years
and later the régisseur (or stage manager)
from 1903 through the Russian Revolution.
His notations are based on The Nutcracker
and other ballets when they were mounted
at the Mariinsky during the late 1890s and
early 20th century; the majority of the
ballets, however, are incomplete sketches
at best. When he fled Russia after the
Revolution, he had the foresight to take
these with him, where he later became an
acclaimed stager of Russian ballets in the
West. Most notably, he staged The
Nutcracker, The Sleeping Beauty, and
Giselle for the Vic-Wells company (later
England’s Royal Ballet) and solidified the
basis for what we now call the “classical
ballet” canon. In 1969, Harvard University
acquired the collection. More information,
including digital access to parts of the
collection, can be found at the Nikolai Sergeyev Dance Notations and Music Scores
for Ballets (Harvard Theatre Collection,
Houghton Library, Harvard University).
Top: Sergeyev’s notations for the “Snow Scene” Harvard Theatre Collection; Bottom: PBT’s rendition, 2012. Photo by Rich Sofranko
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Did you Know? Hoffmann’s The Nutcracker and the Mouse King
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Hoffmann was a Romantic-era author whose stories rebelled against rationalism (the dominant
movement of his time was the Enlightenment, which emphasized rational thinking). He stressed
a return to nature, to imagination, and creativity.
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The main character’s name in Hoffmann’s original story is Marie, which is also the name PBT
uses. Dumas changed the name to Clara in his 1844 version, the name many ballet companies
use in their productions.
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Hoffmann’s Marie feels constrained by her family’s rituals and regulations. The family name,
Stahlbaum (“steel tree”) reflects her feeling of restriction. Dumas changed the family name to
Silberhaus (“silver house”)—a gentler image. (PBT uses Stahlbaum.)
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Hoffmann’s name for the uncle, Drosselmeyer, loosely translated means “one who stirs things
up.”
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“The Story of the Hard Nut” is a story within Hoffmann’s Nutcracker that explains how the
nephew became disfigured and was turned into a Nutcracker. This is generally not included in
ballet versions of the story. (Contemporary choreographer Mark Morris created a Nutcracker
ballet set in the 1960s and called it “The Hard Nut.”)
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In Germany during Hoffmann’s time nutcrackers were carved in the image of local officials to
poke fun at them.
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One of Hoffmann’s other stories, The Sandman, is the basis for the ballet, Coppelia.
Important Dates for The Nutcracker ballet
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1776—E.T.A. Hoffman, German Romantic author, is born
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1816—Hoffmann writes the story The Nutcracker and the Mouse King (Nussknacker und
Mausekönig)
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1818—Marius Petipa, French ballet dancer and choreographer, and The Nutcracker’s original
librettist and choreographer, is born
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1840—Tchaikovsky is born
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1844—Alexandre Dumas writes an adaptation of Hoffmann’s novel: The Nutcracker (Histoire
d’un casse-noisette), which will form the basis of the ballet
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1892—The Nutcracker ballet premieres in December at the Imperial Mariinsky Theater in St.
Petersburg, Russia. Original choreography by Marius Petipa and Lev Ivanov
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1893—Tchaikovsky dies
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1944—The San Francisco Opera Ballet presents the first full-length production of The
Nutcracker in the United States
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1954—New York City Ballet choreographer George Balanchine creates his famous version of
The Nutcracker
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2002—Pittsburgh Ballet Theatre’s Artistic Director Terrence S. Orr creates PBT’s version of The
Nutcracker, with an enhanced storyline, new choreography, and a Pittsburgh theme
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Characteristics of a Story Ballet in the Late-19th Century
Story ballets created at the time of The Nutcracker had common elements that allowed for the
talents and abilities of the dancers to be prominently displayed. (See below for definitions of terms
in italics.)
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Focus was on a main female character danced by the prima ballerina
Prima ballerina dances pas de deux with variations and coda
Prima ballerina dances at least one pas d'action to display her miming abilities
Premier danseur has several variations to show his technique
A sampling of pas de caractères gives soloists an opportunity to display their abilities
Grand march at the end brings the Corps de Ballet on stage to provide a backdrop for a last
dance by the ballerina
Classical Ballet Terms
a combination of dancing and pantomime.
Pas de Caractère: character dance, national or
folk dance.
Pas de Deux: dance for two.
Premier Danseur: Classical male dancer, the
first male dancer of a company or Principal
Dancer. His dances will be challenging displays
of classical technique.
Prima Ballerina: When there is more than one
principal dancer in a company the prima ballerina
is the first female dancer of a company.
Variation: solo dance
Ballerina: leading classical or principal dancer
of a ballet company
Coda: The conclusion or ending of a pas de
deux.
Corps de Ballet: The chorus of the ballet; dancers who appear in large groups. These dancers
provide a background for the principal dancers
and help to fill out story lines. Their dances also
provide time for the principal dancers to change
costumes.
Pas d'Action: portions of the ballet that can help
to develop the plot or depict an activity, they are
Composer Peter Ilyich Tchaikovsky
“The Nutcracker” is one of the great miracles of music.
Berlin Philharmonic Conductor Sir Simon Rattle
Peter Ilyich Tchaikovsky was born in Kamsko-Votinsk, Russia on
May 7, 1840. He was a precocious child who could read French
and German at the age of six and at age seven was writing verses
in French. He began taking piano lessons when he was seven
years old. He showed an ultra-sensitivity to music and had a
delicate musical ear.
In 1850 his well-to-do middle-class family moved to St. Petersburg
where he attended school. He was mildly interested in music and
at age 14 began attempting composition. By the time he
graduated from the School of Jurisprudence in 1859 and had
started work as a clerk, his family had lost most of their money
due to bad investments. Tchaikovsky ended up making a great
deal of money during his life, but gave away much of it and freely
spent the rest.
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Painting of Tchaikovsky by Nikolay Kuznetsov,
1893
At age twenty-one he began to study music seriously. He worked with Nicolia Zaremba until the
St. Petersburg Conservatory opened in 1862. He was one of the best students at the conservatory
and in 1866 he moved to Moscow to be a harmony teacher for the Moscow Conservatory. He led
a quiet life there, teaching and composing. In 1877, a wealthy widow started to subsidize
Tchaikovsky, a relationship that was to last fourteen years. However, there was one strange
condition to the widow's financial support—they were never to meet. With this financial
independence, he was able to resign from the Conservatory in 1878.
Ballet music during Tchaikovsky's time was largely considered unimaginative.The music world,
however, was astonished when Tchaikovsky, a great composer, would "stoop so low" when he
first composed Swan Lake in 1877. But he showed an unprecedented mastery of the art, creating
vivid orchestrations, effective themes and melodies that flawlessly matched physical movements.*
He went on to compose two more full-length ballets that would become enduring masterworks of
the genre: The Sleeping Beauty and The Nutcracker.
*The New Grove Dictionary of Music and Musicians, p. 152-3
A Nutcracker Innovation: The Celesta
For The Nutcracker Tchaikovsky created a number of musical effects using
unusual instruments, including a toy trumpet, cuckoo and nightingale whistles,
and a rattle that produced the sounds of a nutcracker cracking nuts. But
perhaps the most exciting musical innovation was the use of the celesta
(che-LE-sta), an instrument invented in Paris in 1886. Tchaikovsky had used it
in his symphonic poem The Voyevoda in 1891 but it was still relatively
unknown as he composed The Nutcracker. He knew it would be perfect for
musically representing the Sugarplum Fairy and wanted to keep its use a
secret from critics and other composers. He wouldn’t even allow it to be used
in rehearsals until the final one just before the performance. Tchaikovsky’s
instincts were correct—the celesta was a sensation.
The celesta looks like a small piano though it is actually part of the percussion family. Instead of
hitting strings as in a piano, the celesta’s keys/hammers hit small steel plates creating high, clear,
delicate tones. Its sound is celestial (where the name comes from) and conjures feelings of wonder
and magic. In the “Dance of the Sugarplum Fairy,” Tchaikovsky uses the celesta to help create the
magical, alternate reality in which Marie finds herself.
Many composers have used the celesta to create magical or mysterious effects. Listen to:
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“Dance of the Sugar Plum Fairy” (part of the musical selections on the CD)
“Hedwig’s Theme” from the Harry Potter movie series, by John Williams (scroll down to click on
arrow)
“Won’t You Be My Neighbor” (Theme song for Mister Rogers’ Neighborhood television show), by
Fred Rogers
“Neptune, the Mystic,” from The Planets, an orchestral suite by Gustav Holst
Photo by Gregory Maxwell.
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Did You Know? Tchaikovsky’s Nutcracker
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Tchaikovsky didn’t particularly want to create a ballet based on the story of The Nutcracker. He
worried whether it was suitable for ballet and generally felt uninspired at the beginning of the
project. He did become “more attuned to the task” as time went on.
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The original ballet is only 85 minutes long, much shorter than Tchaikovsky’s other ballets, Swan
Lake (approximately 2 hours) and The Sleeping Beauty (almost 4 hours).
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Tchaikovsky felt that The Nutcracker was “infinitely poorer” than his music for The Sleeping
Beauty.
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Tchaikovsky’s sister died during the time he was composing The Nutcracker. Scholars have
suggested that music for “Dance of the Sugar Plum Fairy” was an expression of Tchaikovsky’s
grief, noting its descending octaves and funereal rhythm, contrasting with the “heavenly” sound
of the celesta.
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Tchaikovsky based the Arabian Dance—meant to sound exotic and Middle-Eastern—on a
Georgian (Russian) lullaby.
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Tchaikovsky died from cholera at age 53, eleven months after the premiere of The Nutcracker.
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Jazz greats Duke Ellington and Billy Strayhorn (who grew up in Pittsburgh) created a jazz
version of The Nutcracker Suite in 1960.
Cast List and Setting for PBT’s The Nutcracker
Cast List (in order of appearance):
ACT I
Marie Stahlbaum
Drosselmeyer
His Nephew
Mrs. Stahlbaum
Dr. Stahlbaum
Fritz, Marie’s brother
Grandmother
Grandfather
Mr. and Mrs. Grandview
Mr. and Mrs. Heinz
Mr. and Mrs. Kaufmann
Aunt Hortense
Aunt Gertrude
General
Mr. McTavish
Young McTavish
Harlequin
Columbina
Pirate
The Nutcracker
Rat King
Rats
Snow Queen
Snow King
Snowflakes
ACT II
The Prince
Flowers
Spanish dancers
Chinese dancers
Arabian dancers
Russian dancers
Shepherdesses
Ringmaster
Sugarplum Fairy
Sugarplum Cavalier
Overview of the Setting
In Pittsburgh in the early years of the 20th century, on Christmas Eve
Act 1, Scene 1: The Stahlbaum’s home—the F.W. Mckee house in Shadyside
Act 1, Scene 2: A Snowy Forest—the view from Mt. Washington
Act 2, Scene 1: The Land of Enchantment—an amusement park inspired by Pittsburgh
carousels.
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Synopsis of PBT’s The Nutcracker
NOTE! An elementary level version of the synopsis can be found on page 55.
Act 1
It is Christmas Eve in the early years of the 20th century at the Stahlbaum home in Shadyside. On
the street outside, Godfather Drosselmeyer and his Nephew unload mysterious packages from
their carriage. The guests begin to arrive and as Drosselmeyer introduces them to his Nephew,
they are repulsed by his deformed countenance. Drosselmeyer consoles his Nephew and unveils
the Nutcracker, revealing its role in this night of magic.
In her bedroom Marie, the Stahlbaum's daughter, is reading Kaufmann’s Christmas Stories for
Boys and Girls. Dr. and Mrs. Stahlbaum enter and present her with two special gifts – a beautiful
scarf and a pair of pointe shoes – that
signify Marie's coming of age as a young
woman. Marie admires her new self in the
mirror and sees a vision from her dreams of
a beautiful fairy ballerina.
Drosselmeyer and his Nephew finish their
preparations for the party. Alone,
Drosselmeyer clutches the Nutcracker and
remembers how his Nephew came to be
cursed by the dreaded seven-headed Rat
King. Will tonight be the night the curse is
broken?
The party is under way, and the guests
exchange gifts, trim the tree and dance.
Drosselmeyer's magic tricks delight the
children, but he has even bigger mysteries in store for Marie. He introduces her to his Nephew,
and as Drosselmeyer had hoped, Marie sees through the Nephew's affliction to the goodness
within him. Next he gives her the Nutcracker, which she adores. The party concludes with
Drosselmeyer's magical pièce de résistance, a trick which upsets Marie so much that she runs
upstairs. The guests say their goodbyes and the family retires for the night.
Drosselmeyer reappears in a swirl of his cape
to set the stage for the magic night to come.
As midnight approaches, Marie steals
downstairs to find her beloved Nutcracker.
But Marie is not alone; mice and humansized rats threaten her from every side.
Overcome with fright, she faints. When she
comes to, she finds herself and the whole
house under a spell. Everything is growing,
even the Nutcracker, who becomes life-sized.
The mice and rats return to terrify Marie, but
Nutcracker rallies the toy soldiers and
storybook characters to rescue Marie.
Top: Stephen Hadala as Drosselmeyer and students of PBT
School, 2011. Right: Cooper Verona as the Rat King and
Christopher Budzynski as the Nutcracker, 2012. Photos by
Rich Sofranko.
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As the battle reaches its peak, Marie's
compassion for the Nutcracker ensures
victory over the King of the Rats, and the
Nutcracker is transformed into a handsome
Prince. He invites Marie on a journey
through the glittering snowy forest to the Land
of Enchantment. Guided by the Snow King
and Queen, they set off on a magical sleigh
ride.
Act II
Drosselmeyer prepares the way for the arrival
of Marie and the Prince in the Land of Enchantment where the Sugar Plum Fairy, the vision of Marie's dreams, and her Cavalier greet the
travelers. The Prince relates the tale of the battle, telling how Marie saved his life by helping to
defeat the Rat King. In gratitude, the Sugar Plum Fairy presents Marie with a beautiful gift (a tiara).
Marie expresses her appreciation in a dance with the Flowers.
The grand festival begins, with dancers from many lands entertaining Marie and the Prince. Her visit
to the Land of Enchantment culminates with a Grand Pas de Deux danced by the Sugar Plum Fairy
and her Cavalier.
Suddenly, Christmas Day dawns on the street outside
the Stahlbaum home. Drosselmeyer and his Nephew
make their way to their carriage, stopping to reflect on
the night's wondrous proceedings. Marie's
compassion has broken the Rat King's curse and the
Nephew's handsome face is restored. Marie awakens
in her bedroom, wondering at the fantastic nature of
the night's events. Was it all a dream? She finds her
beautiful scarf, a souvenir of her visit to the Land of
Enchantment. Can it be? She rushes to the mirror
and there, ever faithful, is her Nutcracker Prince.
Top: Julia Erickson and Robert Moore as the Snow Queen and King, 2011. Left: Christine Schwaner as Marie, 2012. Both photos
feature artists of Pittsburgh Ballet Theatre and PBT School.
Photos by Rich Sofranko.
The Pittsburgh Connection
Artistic Director Terrence Orr added numerous Pittsburgh elements to the ballet to make The
Nutcracker a uniquely local experience. Connect your students with the city’s history and discuss
these elements in class prior to your visit to the Benedum. Watch closely for these elements during
the ballet. Review the list with the class after the performance—how many do they remember?
The Clock
At the top of the proscenium (the arch between the stage and the audience) is a large clock with the
Nutcracker’s face at the center. This clock was inspired by the famous Kaufmann's Clock on the
corner of Kaufmann's Department Store at the intersection of Fifth Avenue and Smithfield Street in
downtown Pittsburgh. Meeting under Kaufmann's clock was a Pittsburgh tradition for many years.
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The Opening Showdrop
The first image you see in the ballet is a rendering
of the F.W. McKee mansion, a large, stately home
that was on Fifth Avenue in the Shadyside section
of Pittsburgh. McKee was an attorney whose father
founded one of the pioneer glass-manufacturing
firms in Pittsburgh, McKee and Brothers. The
McKees also owned a large estate in Butler County
where Mr. McKee founded the town of West
Winfield. When he and his family left the home on
Fifth Avenue, it is thought that it may have passed
down through his sister's family. The home was torn down to make way for apartment buildings.
Kaufmann’s Christmas Stories for Boys and Girls
Early in the 20th century Kaufmann's Department Store commissioned a
Christmas storybook, Kaufmann’s Christmas Stories for Boys and Girls.
During planning for The Nutcracker, a PBT board member found a copy of
this storybook, believed to have been published between 1904-1906. Mr.
Orr incorporated it into several scenes: Marie reads the book at the
beginning of the ballet; it appears under the Christmas tree with the other
gifts at the party; the storybook grows as the whole room becomes larger
than life; Drosselmeyer "turns the pages" as the magical story unfolds. In
the battle scene many of the characters who rally to help the Nutcracker
literally come out of the book.
The Party Guests
Although the Stahlbaum family name is taken directly from the E.T.A. Hoffmann tale, Mr. Orr invited
some Pittsburgh guests to the party. Significant families in Pittsburgh history are represented by
Mr. and Mrs. Kaufmann, Mr. and Mrs. Heinz, and Mr. and Mrs. Grandview (named for the avenue
on Mt. Washington). With his kilt and traditional Scottish dance, Mr. McTavish represents the
famous Scottish Pittsburgher, Andrew Carnegie.
The Journey through the Snowy Forest
One of the most beautiful vistas in Western
Pennsylvania is the view from Mt. Washington’s
Grandview Avenue. Looking down on the Point and
the downtown area, you can see the three rivers and
many of the bridges that cross them. The backdrop
behind the snow scene is an artistic rendering of this
vista. It’s pictured as it might have looked at the time in
which the ballet is set, around the turn of the 20th
century.
Artwork for both showdrops on this page by designer Zack Brown .
14
The Choreography
While many productions of The Nutcracker follow the same basic story and general choreography,
each version is a unique creation of the choreographer who stages it. Watch for these elements in
the movements your students see on stage.
Marie and the Nephew
In many productions of The Nutcracker Marie is cast as a child. Mr.
Orr conceived of both her and the Nephew/Prince as teenagers,
which allowed him to cast adult Company dancers as believable
characters in the roles. He created more advanced, complex
choreography for them than is present in many other productions,
and developed a romantic relationship between the two.
Drosselmeyer
Drosselmeyer traditionally sets the stage for events in the story and creates
visual magic to delight the audience. In PBT’s version, he also drives the
storyline. Mr. Orr gave the character substantial dance choreography—not
always the case in other ballet versions—including a pas de trois (dance for
three) with Marie and the Prince.
The Party Scene and Battle
These scenes offer challenges to a choreographer. Watch for
these elements in the ballet to see how they are handled
choreographically:




a very large cast on stage all at once covering a wide range
of ages and levels of ability
many young children
costumes that may limit movement
animals and toys whose choreography should reflect their
characters
Snow Scene
Mr. Orr took his inspiration for the snow scene from a real snow scene at
his former country home in Connecticut. Looking out on the snow-covered
hills from his deck he would watch how the wind swirled the snowflakes,
always in circular patterns. Watch for the circles in shapes and steps in
the choreography here.
Ringmaster with Clowns
This scene is a showcase for young dancers. Filled with whimsy
and acrobatic movements, it’s a lively take on the carousel theme
in Act II.
Top: Alexandra Kochis and Christopher Budzynski, 2011, photo by Rich Sofranko.
Stephen Hadala as Drosselmeyer, 2012, photo by Aimee DiAndrea. The battle
scene, with students of Pittsburgh Ballet Theatre School, 2010. photo by Rich
Sofranko. The “Snow Scene,” 2013; photo by Aimee DiAndrea. PBT students as the
clowns, 2011. photo by Rich Sofranko.
15
Divertissements
Divertissement (literally, a diversion) refers to a complete dance, for one or more dancers, that is
usually part of a larger ballet. (A variation is a solo dance.) All Nutcracker productions traditionally
have four divertissements in Act II that highlight traditional dress, music, and dance steps from
other lands.
Spanish – graceful port de bras (movement of the arms) of classical
Spanish dance, quick turning or snapping of the head at the end of a
musical phrase.
Chinese – traditional Chinese ribbon dance; dancers hold ribbons on
sticks that they twirl and ripple. A Chinese dragon, a symbol of power
and royalty, is carried by six dancers as it undulates overhead.
Traditionally, the eyes of the dragon are blank. Before the premiere
performance in 2002, a ceremony was held in which the dragon’s eyes
were colored with red ink, which is thought to “awaken” the dragon and
bring prosperity to the community.
Arabian – exotic weaving of arms and legs; slithering snake-like
partnering and distinctly “Arabian” angular poses of the head and arms.
Russian – inspired by the Trepak, a traditional Ukranian folk dance
known for its acrobatic feats and technical difficulty.
Top to bottom: Amanda Cochrane, Diana Yohe, 2012, photo by Aimee DiAndrea; Casey Taylor,
2012, by Aimee DiAndrea; Robert Moore and Danielle Downey, 2012, photo by Aimee DiAndrea;
Luca Sbrizzi and Nicholas Coppula, 2010, photo by Rich Sofranko.
16
Signature Steps—Pirouette and Balancé
The choreography of The Nutcracker is packed with challenging steps and technique. Watch for
pirouettes and balancés throughout the ballet.
PIROUETTE
One of the most familiar ballet terms, pirouette literally means to "whirl.” It is a controlled turn on
one leg, with the non-supporting leg turning out or inward toward the supporting leg. The turn
usually starts with one or both legs in plié (bent knee) and then rises to straight leg and onto pointe
(the tip of the toe) for women, or onto demi-pointe (the ball of the foot) for men. The non-supporting
leg can be held in various positions. Pirouettes can be done as a single turn or in multiple rotations.
Turning technique includes spotting—when the dancers fixes her gaze on a single spot while
turning. The pirouette can take many different forms.
Snow Queen and King Pas de Deux
At the end of Act I, the Snow King and Queen dance with the Snowflakes in
the forest. The Snowflakes perform a series of pirouettes enchaînement (in
a “chain” or linked sequence). The mass of simultaneous pirouettes creates
a beautiful, glittery blizzard effect on stage.
Arabian Dance
In Act II, Marie and the Prince are entertained by exotic Arabian dancers.
Watch for the finger pirouette in this dance: the male partner twirls and
supports the ballerina as she holds onto just one of his fingers for balance.
This is an example of pirouette en dehors, with the non-supporting leg
turning out, away from the supporting leg, and the turn is executed outward.
The Sugarplum Pas de Deux
Also in Act II, the Sugarplum Fairy and Sugarplum Cavalier perform a pas
de deux to the ballet’s most famous music, Dance of the Sugarplum Fairy.
Notice the several supported pirouettes, where the Cavalier balances and
twirls his partner. The Sugarplum Fairy performs a series of dazzling
pirouettes enchainement, a triumphant sequence for only the most expert of
ballerinas.
The Snow Queen (Amanda
Cochrane) completes a pirouette,
2012, photo by Aimee DiAndrea.
BALANCÉ
Balancé is a rocking step that is usually
executed in three counts. The dancer shifts
her weight from one foot to the other in a
“down up down” sequence to 3/4 time. The
step begins in fifth position plié. Before the
first count, one foot extends in a degagé
(slightly lifted off the floor) usually to second
position. The foot may cross in front or in
back. Balancé is also sometimes called the
“waltzing step.” Watch for the balancé step
in the party dances, the “Waltz of the
Snowflakes,” and the “Waltz of the Flowers.”
Danielle Downey, Kaori Ogasawara, Nurlan Abougaliev and PBT artists, 2007. Photo by Rich Sofranko.
17
The Costumes
Building costumes for a new ballet production involves inspiration, research, and technical decisions
about construction. Zack Brown, Scenic and Costume Designer, and Janet Marie Groom, PBT's
Costumier, share information about their work on the production.
ZACK BROWN
Design, fabric, and construction are the important elements. Dance clothes are difficult. Laundering
is a major factor because more than one person usually wears each costume, and physical exertion
of dance produces much perspiration. These two factors mean that costumes must often be
washed or cleaned. It also makes them deteriorate, then they have to be replaced. Re-makes are
done all the time.
Artistic Director Terrence Orr gave me parameters that helped focus my ideas. The size of the
budget also has a big influence on decisions. Some of the guidelines that were helpful in my
decisions were:
1. “Chinese” costumes should be red and yellow. They should also have some representation of
the sun.
2. “Arabian” should include a scarf or veil for the woman. There can be nothing abrasive on the
costume because the man does not wear a shirt, and there is so much body contact between
the dancers that he would get all scratched.
3. The overall look of the production should be like a storybook that comes alive.
These guidelines and others like them helped me choose the overall color palette and styles for the
costumes. Using historical research, my own imagination and talent, conversations with Terrence
Orr, and the inspiration of the music with its rich orchestral colors and sweeping melodies, I was
able to design the vibrant, colorful, sumptuous costumes you will see.
JANET MARIE GROOM
Costumes are “built” not made. The reason we say they
are “built” is because more is involved than just cutting out
a pattern and sewing seams. Fabrics sometimes must be
dyed to get just the right shade and to make sure that the
various fabric colors match or coordinate perfectly. Sequins
and jewels must be sewn on by hand. Sometimes they also
have to be dyed to match the fabric. Many layers of tulle
have to be cut to make the tutu skirts. The edges are not
usually straight but scalloped or pointed. These are all cut
by hand. All of these things must be done with the
movement of the dancers being the first consideration.
There are 215 costumes for this Nutcracker production.
110 of them were built in Pittsburgh in PBT’s costume
shop. The rest were built at shops in New York and
Washington, D.C.
Each costume is often made of many pieces that have to be carefully stored. The following
descriptions are for two of the costumes from Pittsburgh Ballet Theatre's production of The
Nutcracker. They give some insight into how elaborate these costumes can be.
18
Toy Soldier
 White pants have gold stripes down the sides. Suspenders
that are not seen have a row of buttonholes to allow for
adjustment on dancers of different heights.
Boot tops are attached to the shoes or to a toe sock that goes
inside the shoe.

Elaborate sleeves with hand-sewn welts and large white cuffs
are attached to a t-shirt that fastens in the front and is worn under
the jacket.

Buttons are sewn on the jacket, but the chains are attached
behind the buttons with elastic.

The wide belt attaches on the side.

The hat is held on by a chin strap. Some of the hats are
attached to a mask-like face.

Snowflake
Skirt is separate from the bodice and attached together with
button tapes that allow for height adjustment.

Snowflakes, elaborately decorated with hand-sewn sequins of
several kinds, are attached to the bodice.

Four layers of fabric make up the skirt: white tulle on top, blue
sparkle tulle, white with silver sparkles, white tulle with white
flocked hearts.

All the hems of all the tulle layers are cut in points. There are
more than 20 snowflake costumes with a total of 10,580 points,
and all of them were cut by hand by one person.

Gabrielle Thurlow, photo by Aimee DiAndrea, 2012.
More Nutcracker designs by Zack Brown
The Rat King
Arabian
The Nutcracker
19
Scenic Design
The complexity of staging a big production such as PBT's The Nutcracker can be an amazing
technical feat! Many things are hidden from view so the audience sees only seamless transitions
from one scene to another, flawless and magical. The massive sets and complicated devices used
to achieve the delightful visions are sometimes anything but seamless and flawless. Learn the
secrets of some of the mechanical and scientific elements of scenery and lighting used to create
the enchantment and wonder of The Nutcracker.
Act I – The Stahlbaum Home
Act I begins with the bustling arrival of party guests on the sidewalk in front of the Stahlbaum
home. The picture of the home is painted on a scrim, which is a large piece of sheer fabric hung
from a pole high above the stage. When the light projects on the scrim from the front, it is opaque
and you see what is painted on the scrim. However, when an object behind the scrim is lit, the
scrim seems to disappear and that object is seen. Watch at the beginning of Act I when Marie’s
bedroom appears and the house exterior vanishes—a great example of how a scrim and lighting
work together.
Act II – The Carousel Canopy
Known affectionately by the stagehands as "The Squid," this
octopus-like mechanical monster operates in a manner
similar to an umbrella. With an umbrella one pushes the
mechanism upward, sliding it along the center pole forcing
the spokes to open the cover. Then, it’s pulled downward
along the pole to close it. (If possible, demonstrate this in
class with an umbrella.)
Photo by Rich Sofranko, 2012.
Here’s the idea! On the left is a normal view of an umbrella. You push
upward to open. The inverted umbrella on the right is how the Nutcracker
carousel works—it’s as if the wind has blown your umbrella inside-out. The
mechanism pushes downward to open and expand the carousel.
Getting to Know PBT’s Dancers
Dancing as a profession is a lifelong pursuit, beginning early
(sometimes as young as age two) and continuing through many
years of rigorous training. Especially during their school years,
dancers’ lives are very scheduled! In many ways, however, they
are just like everybody else. Learn more about the lives of
PBT’s dancers on our website.
PBT Company dancers, 2012. Photo by Aimee DiAndrea
20
The Benedum Center
The Benedum Center for the Performing Arts is the crown
jewel of the Pittsburgh Cultural Trust and the Cultural
District in downtown Pittsburgh. It was renovated in 1987
and is on the National Register of Historic Landmarks.
The 2800 seat theatre used to be the Stanley Theater,
still visible on the lighted marquees outside. It has the
third largest stage in the United States measuring 144
feet wide by 78 feet deep. The Pittsburgh Ballet Theatre,
Pittsburgh Opera, and Pittsburgh Civic Light Opera all
use the Benedum for their performances.
Learn more about the Benedum Center. Investigate the Stanley Theatre’s role in music history
here in Pittsburgh.
Accessibility
PBT is committed to being an inclusive arts organization that serves everyone in the greater
Pittsburgh community through its productions and programs.
In conjunction with the Benedum Center for Performing Arts, the following accessibility services
are provided to patrons:

Wheelchair accessibility

Braille and large print programs

Assistive listening devices

Audio recordings of select program notes

Audio-described performances (Sunday, December 13, 2014 at Noon for The Nutcracker).
For more information about all of these programs please visit the accessibility page on PBT’s
website. Should you have a special request that is not listed above or have any questions about
our accessibility services, please do not hesitate to contact Christina Salgado, Director of Education and Community Engagement, at 412-454-9105 or csalgado@pittsburghballet.org.
For more information about the accessibility services at the Benedum Center for the Performing
Arts, please visit their accessibility page.
21
A Nutcracker Word Search
E
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Find the hidden words!
Arabian Dance
Soldier
Ballet
Sugar Plum Fairy
Battle
Tchaikovsky
Carousel
Tutu
Drosselmeyer
Mt. Washington
Nephew
Nutcracker
Rat King
Scarf
Snow Queen
(answer key on last page)
22
It’s Nutcracker Time! A Clock Activity
The clock at the top of the proscenium (above the curtain) tracks time during the ballet. Have your
students make a clock and practice setting it to the times you will see in the ballet.
Materials
Paper plates or circles cut out of paper
Brass brad clips
Number templates and arrows (next page)
Nutcracker face (below)—to go in the middle of the clock face
Clock Times in The Nutcracker Ballet
4:15 (PM)
5:40
6:15
7:35
7:55
8:15
9:45
12:00 (Midnight)
7:45 (AM)
Before curtain opens
Curtain opens on street scene
Street scene, boy leaves stage with sled loaded with presents
Marie and parents in her room before party
Street scene before party
Pirate dance
Guests leave party
The Magic Begins!
Marie awakens
23
1
4
7
10
2
5
8
11
24
3
6
9
12
Kaufmann’s Christmas Book Activity
Explore this image from the cover of Kaufmann’s Christmas stories book from 1906. Santa’s workshop is full and busy! Find and circle the items listed below. You can also color the picture!
Ruler ▪ Pipe ▪ Saw ▪ Doll ▪ Button ▪ Sled ▪ Spinning Top ▪ Spatula ▪ Drum ▪ Feather
25
Nutcracker Map Activity
PBT’s The Nutcracker takes place in Pittsburgh! Mark the approximate locations of the story’s
landmarks and scenes on the map on the next page.
The Stahlbaum Family Home
Kaufmann’s Department Store
At the corner of Fifth Avenue and S. Highland
Avenue
Downtown on Fifth Ave. (the cross street,
Smithfield, isn’t marked on this map)
Amusement Park and Carousel
Kennywood Park
The Snow Scene
Mt. Washington
Map The Nutcracker Journey!
In the ballet, Marie and the Prince magically travel from Marie’s home to the Land of Enchantment
and back. In the real world, though, they would have to take streets to get there! Help them find their
way using Pittsburgh’s roadways. First, mark your map with the locations in the box above. Then,
using the directions below, use a colored marker to trace route that Marie and the Prince would
have to take in their journey. If you see more than one route, trace it in a different color.
1. Marie and the Prince travel from the Stahlbaum home to Mt. Washington to see the Snow King
and Queen (and the Snowflakes) present a beautiful dance.
2. Marie and the Prince travel from Mt. Washington to the Land of Enchantment (Kennywood
Park).
3. Marie travels from the Land of Enchantment back to the Stahlbaum home where she wakes up
the next morning.
Spot Other Landmarks! See if you can find these landmarks. (Warning! The writing on this map
can be very small!)









The Point
Glenwood Bridge
A city boundary line
An incline (count how many there are!)
The South Hills Tunnel (now Fort Pitt Tunnel)
Boroughs of Swissvale and Fineview
Liberty Ave.
Craig St.
Downtown
TEACHERS’ NOTE: If there is access to a computer or smart board, viewing the map may be a
little clearer here.
26
Map Credit: Pittsburgh, PA and Vicinity
Street and Interurban Railway Trackage, 1859-1959. Historic Pittsburgh
Collection, University of Pittsburgh Digital Library:
27
28
Rat King
Marie
Snow Queen
Nephew
Stick Puppet Templates for The Nutcracker
Cavalier
Nutcracker
Sugarplum Fairy
Drosselmeyer
Cut out and paste onto cardboard or foam core. Glue each puppet to
popsicle sticks and create your own Nutcracker ballet!
Nutcracker Listening Guide
This listening guide provides an in-depth look at the music of The Nutcracker. The guide follows the
music provided on the Teacher Resource Guide CD. See the glossary on page 32 for terms in bold.
Track 1. Beginning of Act I — Opening
As Marie reads her book and plays with her Christmas presents, the music begins with a soaring
melody in the strings which is joined by the orchestra (Excerpt 1). The melody halts at (1:17) and
features a playful clarinet that is joined by the other woodwinds, forming a canon (Excerpt 2). The
sweeping melody returns in brisk tempo. Dexterous runs in the woodwinds build up excitement until
an unresolved final chord leaves the listener hanging. Amidst the Christmas bustle, the music
changes into an eager staccato 6/8 time signature at (3:12), then falls into quiet string tremolos
with prominent harp and solo English horn. The opening ends with three pizzicato chords in the
strings.
Excerpt 1
Excerpt 2
March (4:03)
In the Stahlbaums’ home with all the guests gathered around the tree, a stately march opens with a
call in the winds and response in the strings. The theme repeats with varying orchestral colors and
ends with a final chord in the winds. The music instantly proceeds into a brisk staccato section,
beginning with the woodwinds then leading into a call-and-response with the strings (5:16). The
march returns with glorious sweeping runs in the strings, then the melody finally resolves upwards
for a satisfying conclusion.
Petit Galop (6:46)
The Galop begins with the violins’ light, perky melody to the young children’s dancing (Excerpt 1).
As the adults begin their ballroom dance, the strings begin a royal, grand theme in a broad 4/4 time
signature (7:28), shown in Excerpt 2. Suddenly, with a switch to a kilted dance, the orchestra plays a
playful, child-like melody in 6/8 (Excerpt 3) featuring pizzicato strings and adding the tambourine at
(8:20). Tchaikovsky ends frustratingly with a fermata rest without chordal resolution.
29
Excerpt 1
Excerpt 2
Excerpt 3
Scene Dansante (9:31)
After a mysterious interlude of the low strings and brass upon the entrance of Drosselmeyer, the
tempo accelerandos from (10:25) into a delicate staccato melody (Excerpt 1) as Drosselmeyer
shows off his magic tricks. The orchestra crescendos to a staccato note, followed by a brief
passage featuring the low strings, bassoons, and bass clarinets (Excerpt 2), ending ominously.
The tempo picks up as the oboes continue constant sixteenth notes, but the music remains in a
minor key. The music moves into a quick 3/4 passage felt in one large beat (12:40), with a
bouncing melody in the clarinet (Excerpt 3). Tchaikovsky moves directly into a flowing, peaceful
waltz of the puppets (13:19), shown in Excerpt 4, ending on a pizzicato note in the strings. The
music continues expressively until gently transitioning into a presto (15:02). The orchestra
crescendos forebodingly with a melodic line in the lower strings (Excerpt 5) at the dance of the toy
pirate, and builds in intense quick sixteenth notes leading up to a giant sff tutti chord.
Excerpt 1
Excerpt 2
Excerpt 3
30
Excerpt 4
Excerpt 5
Track 2. The Battle
The Rat King’s imminent attack is announced by the tension-filled tremolos and theme in the oboe.
With a momentary pause after the oboe completes its phrase, a loud cannon introduces the
Nutcracker’s soldiers. The oboe’s previous theme is taken up by the bassoon while the upper
woodwinds provide march-like melodies. The battle itself begins with drumrolls, and military
woodwinds take the role of the Nutcracker’s soldiers while the ominous brass mimic the rats. The
themes call and respond to each other while the percussion instruments continue to represent the
gunshots. The music reaches a climax with a clash of the cymbals as the Nutcracker stabs the Rat
King, and the orchestra’s wild sixteenth-note runs wind down.
Track 3. Waltz of the Snowflakes
In the snowy forest, the delicate snowflakes’ waltz begins with whimsical flute flutters and pizzicato
strings (Excerpt 1). With the marking cantabile indicating the only instance of singing in the ballet,
the Snow Queen and King enter and prance impossibly lightly, followed by the Nutcracker and
Marie (Excerpt 2). With the incorporation of the triangle and harp, the music leads to an intense and
passionate phrase, ending with harp glissandos and a tutti fortissimo chord.
Excerpt 1
Excerpt 2
31
Track 4. Spanish Dance
In the Spanish dancers’ number within a beautiful artistic interpretation of an amusement park, a
grand trumpet theme (Excerpt 1) is joined by the woodwinds with grand flourishes. Befitting of the
traditional Spanish costumes, castanets enter to accompany a waltzing orchestral melody (Excerpt
2); and a solo line in the clarinet leads up to the tutti crescendo, accelerando, and climax of the
number.
Excerpt 1
Excerpt 2
Track 5. Arabian Dance
The stage darkens for the entrance of the gypsy-like Arabian dancers. The quiet, exotic flavor of the
clarinets in minor mode sets the mood for the slow, sensual movement of the dance, with
untraditional lifts and continuous snake-like movements. The Middle-Eastern flavor is enhanced by
the solo oboe and English horn as the upper strings continue their quiet melody and the lower
strings maintain constant sixteenths. The music fades out as mysteriously as it began.
Track 6. Chinese Dance
With staccato bassoon notes then pizzicato strings, the flutes dominate the texture of the Chinese
Dance with a light, fluttering melody. To fit the streamers, brightly colored costumes, a Chinese
dragon, and flamboyant dancing, the clarinets begin nimble arpeggios and all the voices play
independently to the end of this brief number.
32
Track 7. Russian Dance
The Russian Dance, representing Tchaikovsky’s native country, demonstrates the grandness and
intensity of Russian music through both the music and the costume designs. Also referred to as
Trepak, this number was inspired by a traditional Ukrainian folk dance. The energized music and
gymnastic dancing never slows, and the sixteenth-note patterns in the strings build and
accelerando to a climactic end.
Track 8. Shepherdesses
With a lack of melodic tension, the feminine dance of the Shepherdesses features delicate
woodwinds and pizzicato strings (Excerpt 1), along with pastel dresses and twirling dancing. The
brass enter for a minor-mode section as the sheep dance around (Excerpt 2), then the music
winds down to a da capo section. The number ends suddenly with a cymbal crash.
Excerpt 1
Excerpt 2
Track 9. Ringmaster and Clowns
Joyful march-like music with the tambourine begins as the children enter in various styles of
colorful costumes (Excerpt 1). Comical circus-like music begins as the children dance around
(Excerpt 2), then the original melody reappears in an elated tempo and builds up to a magnificent
conclusion.
Excerpt 1
Excerpt 2
33
Track 10. Dance of the Sugarplum Fairy
The delicate dance of the Sugarplum Fairy, in her sparkling tutu and tiara, features the celesta—
the only instrument Tchaikovsky felt was worthy of her character. The music accompanies her
ginger movements perfectly, with solo woodwinds adding to the celesta’s unique tone and musical
color. The dancing accelerates along with the music, and the Sugarplum Fairy twirls rapidly until a
tutti chord ends the number.
Glossary of Musical Terms
Accelerando—to speed up
Sff (Sforzando)—very loud and accented
Arpeggio—a series of notes spelling a chord
Sixteenth notes—quick notes; four sixteenths
per beat
Brass instruments—metal wind instruments,
including: trumpet, trombone, euphonium, and
tuba
Staccato—short articulation
Canon—multiple simultaneous imitations of the
melody beginning on different beats
Strings—wooden instruments with strings,
played by bowing or plucking, including: violins,
violas, celli, and double bass
Cantabile—in a singing style
Tempo—pace of the music
Chord—a set of three or more notes played
together
Theme—a brief melody which forms the basis of
a passage
Crescendo—to grow louder
Time signature—an indication of rhythm and
beat; 3/4 is felt in three beats, 4/4 in four beats,
6/8 in two beats that are each divided into three
smaller beats
Da capo—a return to the beginning section
Fermata—an orchestral note or rest held out of
time
Fortissimo—very loud
Tremolo—a wavering effect produced by quickly
alternating between two notes
Glissando—a continuous slide between two
notes
Tutti—all playing together
Winds—woodwinds and brass
Melody—a musical line or statement comprising
Woodwinds—wind instruments, most of them
a series of notes
made of wood, including: clarinet, oboe, flute,
Minor—a musical mode that sounds serious or bassoon, French horn, bass clarinet, and
sad, as opposed to major mode
English horn
Percussion—non-wind instruments, including:
celesta, timpani, snare drum, cymbals, bass
drum, triangle, tambourine, castanets, tam-tam,
and glockenspiel
Pizzicato—played with plucked strings
Presto—very quick
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Entry Pointes
“Entry Pointes” are questions, topics, and areas of focus for educators to use and make connections
between their curriculum and the ballet. We strive to make meaningful connections in each content
area of the Pennsylvania Academic Standards and provide numerous entry pointes for a multitude
of different learners at all levels. Educators are encouraged to expand and adapt the entry pointes
as necessary to meet the needs of their students and address certain standards.
Other important notes about Entry Pointes:
 After each individual entry pointe on the following pages is a suggested grade range (elementary,
middle or high school) in parentheses.
 Entry pointes that are about ballet in general are marked with a pointe shoe symbol.
 Most of the information presented in the guide falls within an 8th-11th grade reading level
according to the Lexile® Framework for Reading. A chart with measures is listed on
page 53.
PA Core Standards for English Language Arts ………………………………………...36
(PDE Academic Standards 1.1-1.5)
PA Core Standards for Mathematics (PDE Academic Standards 2.1-2.11)………...38
Science and Technology and Engineering (PDE Academic Standards 3.1-3.4)…..40
Environment and Ecology (PDE Academic Standards 4.1-4.5)……………………....42
Civics and Government (PDE Academic Standards 5.1-5.4)……………………….... 43
Economics (PDE Academic Standards 6.1-6.5)…………………………………..……. 44
Geography (PDE Academic Standards 7.1-7.4)………………………………………….45
History (PDE Academic Standards 8.1-8.4)………………………………………………45
Arts and Humanities (PDE Academic Standards 9.1-9.4)…………………………….. 47
Heath, Safety and Physical Education (PDE Academic Standards 10.1-10.5)……. 49
Family and Consumer Sciences (PDE Academic Standards 11.1-11.4)…………….50
World Languages (PDE Academic Standards 12.1-12.6)………………………………51
Career Education (PDE Academic Standards 13.1-13.4)………………………………51
Business and Computer IT (PDE Academic Standards 15:1-15:9)…………………..52
Student Interpersonal Skills (PDE Academic Standards 16:1-16:3)…………………53
Lexile Reading Measures List …………………………………………………………….. 54
Elementary Synopsis ………………………………………………………………………...55
35
Entry Pointes
Reading, Writing, Speaking, and Listening (PDE Academic Standards 1.1-1.9)
1. Read E.T.A. Hoffman’s story, The Nutcracker and the Mouse King, written in 1816, and the
synopsis of Terrence Orr’s version of The Nutcracker ballet found in this resource guide. Compare
and contrast the two story versions, including characters, events, setting, and themes. (MS, HS)
2. Read the synopsis of The Nutcracker and develop a list of inferred character traits for various
characters, including Marie, the Nephew, Drosselmeyer, and the Sugarplum Fairy using evidence
from the text to support your argument. Next, read the snippet below from E.T.A. Hoffman’s story,
The Nutcracker and the Mouse King, that describes Drosselmeyer:
Drosselmeyer “was anything but handsome. He was short and very thin, his face was seamed with
wrinkles, he had a big black patch where his right eye should have been, and he had no hair at all,
for which reason he wore a beautiful white wig, a real work of art."
Based on the descriptions and inferences students make about the characters, write a short “Day in
the Life” journal entry for one or more characters. (MS, HS)
3. Analyze various covers of The Nutcracker storybooks. What symbols, myths, and other
information do the covers provide? Decide what elements are the best marketing tools for the story
and design your own cover. (ES, MS)
4. Analyze the cover of Kaufmann’s Christmas Stories for Boys and Girls the Kaufmann storybook
included in this resource guide on page 23. What symbols, myths, and information does the cover
provide? What is unexpected about the cover? Write your own short holiday story set in Pittsburgh
to include in the Kaufmann book. (ES, MS)
5. Some versions of The Nutcracker have Marie waking up on Christmas morning and wondering if
her time in the Land of Enchantment (or Kingdom of Sweets in other versions) was all a dream
(you’ll have to wait and see if this is the case in PBT’s version of The Nutcracker!). Write a story or
draw a detailed storyboard (if possible using a digital technology tool) for a main character that finds
themselves in a fantasy world and then returns home at the end. Share stories among students and
keep a list of the different ways the characters go to and from the fantasy lands and how many
characters believe their fantasy trip was real, unreal, or uncertain. (MS, HS)
6. Read a storybook version of The Nutcracker. In small groups draw pictures or write a recount of
three important scenes from the story. As a whole class put the pictures together on a wall to create
a story line. What events are most represented on the story line? What events from the story are
missing? (ES)
7. Using evidence from the text and ballet to support your word and language choices, write a
formal thank you note from one of the following character’s perspective:

Marie thanking her father for her scarf

The Nutcracker thanking Marie for her help in defeating the Rat King

A party guest thanking the Stahlbaum’s for their Christmas Eve party
36
8. European nursery rhymes and fairy tales are full of references to raising sheep just like the
Shepherdess scene in The Nutcracker. Read, recite, sing, and/or dramatically pantomime or act
these pieces of literature, including “Baa Baa Black Sheep,” “Mary Had a Little Lamb,” “The Boy
Who Cried Wolf,” etc. (ES, MS)
9. The carousel in PBT’s production of The Nutcracker is a very complex part of the set design.
(For a description of how it operates, see page 18.) Mr. Orr wanted to include a carousel in this
production to pay tribute to the two dozen amusement parks that once entertained families in
Pittsburgh region. Currently three carousels remain in our area: two historic carousels at
Kennywood and Idylwild, and a modern carousel (based on a 1913 carousel) at Schenley Plaza.
Review a list of carousel characters from the carousel at Schenley Plaza. Design your own theme
for a carousel, creating a complete list of characters and drawing one or more characters. Write a
brief explanation of what theme you chose and why. Research the history and cultural importance
of carousel to write an informative essay (ES, MS, HS)
10. The Sugarplum Fairy thanks Marie for helping the Nutcracker defeat the Rat King by
presenting her with a grand celebration of dance. If the Sugarplum Fairy could speak, what would
she say? Write a speech for the Sugar Plumpairy that expresses her gratitude for Marie’s help using evidence from the ballet to support your word choices. (MS, HS)
11. Every version of The Nutcracker seems slightly different from each other. Read a storybook
version of The Nutcracker and chart the similarities and differences between the storybook and
PBT’s production of The Nutcracker. A Venn Diagram or other story organizer can be used. (ES,
MS)
12. Through every retelling of a story, details change depending upon the storyteller. Experience
this mutability by orally retelling the story of The Nutcracker--without notes--to a friend. Journal
about what you noticed about your version you told and how you felt during the storytelling
experience. Discuss the impact of oral storytelling on literature traditions. (ES, MS, HS)
13. Write a short story that shares a similar structure to The Nutcracker. Include the following
elements: a party, guest, a very special guest, a magical gift, and a moment when everything
changes. Share stories and peer review looking at similarities and differences with The Nutcracker
story. (ES, MS, HS)
14. The Nutcracker includes many toys that come alive, a feature in literature called
“personification.” Bring a toy or object from home and describe its qualities using all of your
senses. What is the purpose of the object? Imagine yourself as the object. How would you move
as the object? How would your object relate to other object and move together (or not) with them?
Write a narrative from the object’s perspective. (ES, MS)
15. Create a poem about the story of The Nutcracker. Explore different poetic forms, such as
haiku, limerick, or cinquain. (MS, HS)
16. Assign students to create “treasure hunts” using the internet around one aspect of The
Nutcracker: music, choreography, past productions, the story and characters, and costumes. Ask
questions about the topic, find the answers to the questions for an answer key, then share
treasure hunts with other groups to complete. Ask students to keep track of keyword search and
the websites utilized. After groups have completed each others’ treasure hunts, discuss how
information was acquired, what keywords were most successful and why, tips for doing online
research they discovered, and ways to determine the quality of a website. (MS, HS)
37
17. Write a book review of a storybook version of The Nutcracker or E.T.A. Hoffman’s story.
Summarize the story, highlight the main characters, discuss setting and themes, and describe why
this book should or should not be read by others in a persuasive manner using evidence from the
text. (ES, MS, HS)
18. The ladies at the Stahlbaum party use fans as both an accessory and for communicating to
others. Research the language of fan-holding and the art of fans, and write a paper about its cultural
significance. Create your own fans and generate a dialogue told just through fan-holding. If
necessary, create new positions of the fan to communicate new ideas. (MS, HS)
19. Drosselmeyer is an important and mysterious character in The Nutcracker. Who is
Drosselmeyer? How do you think he creates such amazing party acts? Is he a magician, a wizard, or
maybe a scientist? Create your own background story about Drosselmeyer. (ES, MS, HS)
20. Pittsburgh Ballet Theatre’s production of The Nutcracker is very Pittsburgh specific. As a result,
changes had to be made to the traditional storyline and performance. Research both the story and
performance and write an editorial addressing the following points:
1. How do the changes affect the story?
2. How do you change the ballet while still maintaining the integrity of the original?
3. How would audiences outside of Pittsburgh receive PBT’s production? (MS, HS)
21. Identify the following vocabulary words: celesta, lest, appreciation, prominent, commission,
precocious, mysterious, countenance, clutch, affliction, pièce de résistance, rallies, enchantment,
gratitude, tiara, wondrous, souvenir. Write how each term is related to the production. (MS)
Mathematics (PDE Academic Standards 2.1-2.11)
1. Stage lighting for productions uses a lot of energy! Answer the following math problems about
stage lighting. Based on the units below, write your own word problems! (MS, HS)

Each “unit” of stage lighting might average 800 watts. If the average household light bulb uses 75
watts, how many household light bulbs would it take to equal just one unit of stage lighting?
Round your answer to the nearest whole number (11 light bulbs)

There are approximately 575 units of stage lighting used in the production for each performance.
How many total watts of energy are used in one performance? (460,000)

Check the program or online at www.pbt.org for the total number of performances of The
Nutcracker. Calculate the total amount of wattage used for The Nutcracker. (In 2014, there are 24
performances = 11,040,000)

Now calculate the number of household bulbs it would take to equal all the wattage used
throughout the production run of The Nutcracker! Round your answer to the nearest whole
number. (147,200)
2. In small groups, choose one toy that you will see in The Nutcracker (a Nutcracker, a hula hoop, a
Jack-in-the-Box, Raggedy Ann doll, Teddy Bear, Doll House). Conduct market research on that toy
using the internet. Find the prices of the toy on at least 3 different websites (suggested websites:
amazon.com, ToysRUs, Target, Walmart, etc.). Make a graph showing the prices at each website.
Calculate the difference of prices and what the sales tax would be if for each price if you bought the
item here in Pennsylvania (6%). If possible, have students locate online coupons or “Black Friday”
deals for each website. Calculate how much money you would save if you utilized the coupon. (MS,
38
HS)
3. In small groups, choose one toy that you will see in The Nutcracker (a Nutcracker, a hula hoop,
a Jack-in-the-Box, Raggedy Ann doll, Teddy Bear, Doll House). Calculate how much the toys
would have cost in 1913 (the first year available) on the following website:
http://data.bls.gov/cgi-bin/cpicalc.pl. Calculate the rate of inflation from 1913 to 2014. (ES, MS)
4. The Czar in Russia during the decade after The Nutcracker premiered was Czar Nicholas II. At
the end of a performance on the Czar Nicholas’ name day, December 6th, student dancers would
be lined up by size and presented to the czar. The czar would then give them each a chocolate in
a silver box. Have students silently line up by height. Measure each student. Find the mean,
median, mode, and range of the class. Perhaps the students who generate correct answers are
awarded a special treat. (ES, MS)
5. Choreographers utilize a variety of shapes and line patterns when creating dances that depend
upon how many dancers they have onstage at one time and what ideas they are trying to convey.
Some line patterns include parallel lines, diagonal lines, perpendicular lines (an X), grid formation,
and staggered formation. Some shapes they make are circular, triangular, square, hexagonal, or
pentagonal. Some of the patterns and shapes resemble the idea that is being conveyed or an
object, such as flower or a snowflake. Watch for various patterns during the production and record
when they are used in the production and how or why that pattern or shape is being used. Some
scenes to pay careful attention to are the Snowflake dance and the Waltz of the Flowers. (ES,
MS, HS)
6. Shapes and patterns also come into play in the fanciful costumes of The Nutcracker. Search for
interesting shapes and patterns as you watch the performances. Afterwards, try to draw the
costumes you remember and name the shapes that are used in it. (ES, MS)
7. Explore transformational geometry through various poses of The Nutcracker. Brainstorm
scenes and moments from the production to emulate. One student freezes in a pose from the
production. Another student then takes a position that is a reflection, rotation, or translation of that
original pose. Everyone in the class can participate at once to create a corps of dancing
geometric figures. Perform and record the pieces with digital technology and have students reflect
on their creations. (ES, MS)
8. Explore transformational geometry through various scenes of The Nutcracker. In small groups,
students create tableaux that satisfy the various requirements for the scenes. Perform and record
the pieces with digital technology and have students reflect on their creations. (MS, HS)
-Freeze at the moment the villagers see the Nephew and his deformity. There must be two
reflections and one translation in your tableau.
-Freeze at the moment Marie receives the Nutcracker from Uncle Drosselmeyer. There must be
two rotations and one reflection in your tableau.
-Freeze at the moment the Rat King and the Nutcracker come face to face in the battle scene.
There must be two translations and one rotation in your tableau.
-Freeze during the Dance of the Snowflakes. There must be one reflection, one rotation, and one
translation in your tableau.
-Freeze during a moment from the Ringmaster and Circus scene. There must be three of one of
the transformations (reflection, rotation, and translation) in your tableau.
9. Mathematical angles come into play in every aspect of ballet, from the angle of a dancer’s leg
to the position of dancers to one another on stage. In small groups create a series of tableau that
satisfies each requirement. Perform and record the pieces with digital technology and have
students reflect on their creations. (MS, HS)
39
-Freeze during a moment from the party scene where the children are one side and the adults are
on the other side. The two sides should be positioned at an acute angle towards one another
everyone should have one body part that is at a ninety-degree angle.
-Freeze at the moment the Mice are scaring Marie. Every participant should have one body part at
an acute angle. Two participants should be placed at an obtuse angle of one another.
-Freeze at the moment the Sugarplum Fairy arrives in the Land of Enchantment to greet Marie
and the Nutcracker. Create the scene at a right angle. Every participant should have both an
obtuse and acute angle in their body position.
10. Dance choreography involves many mathematical concepts. During the performance
make a note of the various mathematical concepts you see being used. (ES, MS, HS)
11. The children at the party play a hand-clapping game. In partners, develop your own
handclapping game with an established rhythm and pattern. Try patterns of different length (3
claps, 4 claps, 6 claps, etc.) or work on patterns that include multiples (2, 4, 6, 8 or 3, 6, 9) etc.
(ES, MS)
12. With so many performers on the stage at one time, how does the choreographer keep
everyone from running into each other? How does he or she divide the space? How do the
dancers know exactly where to be? How do you adjust to a smaller or larger stage? (MS, HS)
13. Set designers have the important job of making the stage look realistic. How do set
designers make sets look proportionately correct? How do they show depth? (MS, HS)
14. Pittsburgh Ballet Theatre brings its own special floor to the Benedum Center for
performances. Research the type of floor that is best for dancers to use and find out its cost by
square foot. Then, find out the size of the stage. Consider transportation costs when bringing
the floor to the Benedum to and through five times a year. How much in total would it cost to
provide a special floor for the dancers annually? (HS)
15. Based on the idea that the nutcracker toy becomes the size of an actual human, calculate how
large the ordinary objects would become under this spell. (MS, HS)
16. The year The Nutcracker premiered, John Phillip Sousa held his band’s first public
performance in New Jersey. Investigate the mathematical structure of some of his most famous
marches. Compare these to other marches by different composers, such as Tchaikovsky and
Prokofiev. How do marches lend themselves well to dance and movement? (HS)
Science and Technology and Engineering (PDE Academic Standards 3.1-3.4)
1. Investigate the amount of force required to crack a nut in a Nutcracker using different-sized
nutcrackers and various nuts (almonds, walnuts, hazelnuts, etc.) (MS, HS)
2. Take apart a mechanical toy and investigate its inner workings. What physical forces, concepts
of energy, and types of motion does the toy employ? (MS, HS)
3. Uncle Drosselmeyer is sometimes characterized as an inventor in various versions of The
Nutcracker. Research other famous inventors from history and create a timeline of inventors and
their respective inventions. (MS, HS)
40
4. Snowflakes appear in the “Journey to the Snowy Forest” scene. Research and investigate how
snowflakes form and how temperature plays a role in snowflake formation. For advanced
students, research snowfall patterns in the state of Pennsylvania and/or the United States. How
does geography, such as mountains and large bodies of water, impact snowfall amount totals?
(ES, MS, HS)
5. In “The Waltz of the Flowers,” the audience sees flowers that are very beautiful and colorful as
well as yellow-and-black bumble bees. Investigate the relationship between colorful flowers and
bees. (ES, MS)
6. Research various kinds of bees and “bee colony collapse.” Explain why colony collapse is
happening and what are the future consequences. Imagine and write a short essay on what the
world would be like without bees. (MS, HS)
7. Lighting for a production of The Nutcracker uses a range of colors, saturations, and intensity to
achieve the various settings and dream-like quality of the production. Using scraps of different
colored cellophane and a flashlight and/or a lamp, experiment with the different color
combinations and intensity of light (concentrated or diffused) you can create. What effects and
moods might different colors have on various scenes? Brainstorm qualities to each color
combination and, after reading the synopsis for The Nutcracker, decide what colors would best fit
each scene’s mood. Watch during the performance to see all the different colors used! (ES, MS)
8. In the background of the Stahlbaum party, a full moon illuminates the scene. What are the
stages of the moon cycle? Research during what years that has been a full moon near Christmas
Eve. (ES, MS)
9. Look at the image of Santa’s workshop on the cover of Kaufmann’s Christmas Stories for Boys
and Girls on page 23. What kinds of technology are shown in Santa’s Workshop? Do we still use
these tools and this technology? What kinds of tools do we use now that wouldn’t have been
used in 1906? (ES, MS)
10. Props, or properties, are the small objects handled by the dancers in a production. The props
in The Nutcracker go through quite a beating—sometimes literally—throughout the course of the
production. Take for instance the giant fork sword used during the fight between the Rat King and
his mice and the Nutcracker. It has to be able to be handled by the dancers and tossed to the
ground night after night after night. Choose one prop from the production that you saw. How was
that prop used in the show (Picked up? Dropped? Etc.)? Engineer and design your own version
of that prop, taking into consideration materials you could use, how the prop is utilized, and
keeping costs as low as possible! (MS, HS)
11. In the Ringmaster and circus scene, the clowns build a human pyramid. Explore the
geometric and physical nature of the pyramid. How is weight distributed evenly? How are parts
connected and held together? Where are strong and weak points in the pyramid? If possible and
with correct safety measures in place, build your own human pyramid. How do you ensure
stability and even distribution of weight and mass? (ES, MS)
12. Tchaikovsky used a celesta (a type of keyboard instrument) for the dance of the Sugarplum
Fairy. The celesta was a new instrument at the time and had not been used in Russian music
prior to The Nutcracker. Think of things being done in popular music that are new sounds and
how digital technology has changed music production. (MS, HS)
41
13. Compare the mechanisms used to create sound on a piano, harpsichord, and celeste. The three
look like a piano, but they are very different inside. Would amplification be needed at a live
performance? (MS, HS)
Environment and Ecology (PDE Academic Standards 4.1-4.5)
1. Research Nutcracker dolls. What resources are needed to make the dolls, and how are these
resources transformed from their raw form to a finished Nutcracker doll? What kinds of paints are
used to decorate the dolls? How are the materials used to make a Nutcracker doll today different
from those used 100 years ago? (MS, HS)
2. Investigate the various ecological systems of the countries which Marie and the Nutcracker see
dances from in the Land of Enchantment: China, Russia, the Arabian peninsula, Spain, and
Germany (the Shepherdess scene). (ES, MS, HS)
3. In the Snowy Forest, a vibrant ecological system exists--even in the dead of winter. Using
Pennsylvania forests as your ecological system, investigate the habitat of the system. Determine
various living and non-living entities and categorize the living entities into producer or consumer
roles. (ES)
4. Costumes for a production like The Nutcracker get dirty quickly from sweat, the “snow,” and make
-up. Research how ballet costumes are laundered. What detergents, if any, are used, and how
much water is consumed? Brainstorm ways that ballet companies could reduce their resource
consumption (water, energy, detergents, etc.) and become “greener.” (HS)
5. Flowers play an important role in ballet. A gift of flowers to a ballerina is the highest
compliment that can be paid. Research contemporary practices in growing commercial flowers.
(MS, HS)
6. The flowers in “The Waltz of the Flowers” are very beautiful and colorful. Investigate the
photosynthetic energy cycle that flowers participate in that gives them their various colors. (ES, MS)
7. Investigate flowers that are native to Western Pennsylvania. Design and/or create a sustainable
wildflower garden for your school. (ES, MS)
8. The Shepherdess scene pays homage to our civilization’s root in agrarian culture. Research
historical and contemporary practices of raising sheep. For what purposes were sheep raised?
What technological advances have changed the way sheep are raised? What is the production
cycle from farm to home for both lamb meat and wool? (MS, HS)
9. Classify all kinds of nuts and determine where they grow. Nuts are the plants’ seeds, carefully
open different kinds of nuts to find the germ. (MS, HS)
10. What chemical is produced by walnut trees that prevent other plants from growing nearby? Find
some walnuts that are still surrounded by their green flesh and test the dyeing properties on cloth.
(MS)
42
Civics and Government (PDE Academic Standards 5.1-5.4)
1. Identify national symbols for the various countries represented in The Nutcracker: Spain, China,
Russia, and Saudi Arabia. How do these symbols differ from their counterparts in the United
States? (ES, MS)
2. Identify national holidays for the various countries represented in The Nutcracker: Spain, China,
Russia, and Saudi Arabia. How and why do these holidays differ from their counterparts in the
United States? (ES, MS)
3. Investigate the current government systems in the various countries represented in The
Nutcracker: Spain, China, Russia, and Saudi Arabia. How do these systems of government differ
from their counterparts in the United States? How are citizens defined in each of these countries,
and in what ways do citizens participate in the government process? Create a checklist for what
countries have similar features, such as a Bill of Rights, Declaration of Independence, democratic
ruling body, Constitution, etc. (ES, MS)
4. Investigate the system of government in Imperial Russia at the time that The Nutcracker was
created (1892). Who were the leaders of the government in Imperial Russia (Czar and Czarina)?
What was successful about this model? What challenges did this system of government face,
including opposition? Compare and contrast with the United States’ system of government. Divide
the students into two groups, having one group act as the Czar and his court and the other group
choosing a story character and improvising to music from The Nutcracker CD. (MS, HS)
5. China is one of the countries represented in The Nutcracker. Today, China has faced much
criticism from proponents of free speech because of its very stringent laws about free speech and
media access. Find a newspaper article about China and the media. Compare and contrast information from the various articles collected. Synthesize the information to draw conclusions about
why such stringent limits are imposed. (MS, HS)
6. The Rat King and his army of mice threaten Marie and the Nutcracker. Investigate the structure
of a monarchy, an army, and martial law. (ES, MS, HS)
7. Investigate current foreign policies the United States has with the various countries represented
in The Nutcracker: Spain, China, Russia, and the countries on the Arabian Peninsula (Saudi
Arabia, United Arab Emirates, Kuwait, Bahrain, Yemen, Oman, and Qatar). (HS)
8. What was the cultural scene in Pittsburgh in 1900? Research the major cultural institutions.
Were cultural resources available to the average person? Who was responsible for the funding of
these institutions? Also, why was culture such as music, art, and museums so important? What
still exist today? (MS, HS)
9. The Nutcracker premiered in St. Petersburg, Russia. At this time Russia was still a monarchy.
What would The Nutcracker be like if it premiered in Russia under the Communist regime? What
changes would be made to the original to fit inside the communist belief system? (MS, HS)
43
10. The Nutcracker includes multi-ethnic dances. During the same year The Nutcracker
premiered, Germany, Italy, and Austria formed the Triple Alliance. Explore the irony of the
situation. What time period were times of cultural mixing? What was the political climate at the
time? Pick a country and explore its immigration history. Pay attention to tolerance vs. intolerance
and the political system. Connect historic oppression and acceptance with modern-day struggles.
(HS)
Economics (PDE Academic Standards 6.1-6.5)
1. Tchaikovsky was fortunate to have an anonymous patron who supported and subsidized
his work as a composer. Investigate the meaning of a “patron of the arts” and the economic
implications of arts patrons. Research other famous arts patron/artist relationships from
history. What benefits and challenges are faced by the artist in a patron/artist relationship? What
negative and positive consequences can occur from investing in an artist? (MS, HS)
2. The Shepherdess scene paints a very idyllic picture of agrarian society, but today, the
economics of agriculture are anything but pretty. Research and describe agricultural practices
(both growing crops and raising livestock) in the United States with respect to economics,
including ideas of supply and demand, capital resources, market competition, and government
incentives. (ES, MS, HS)
3. A 100 year-old storybook, Kaufmann’s Christmas Stories for Boys and Girls, plays a prominent
role in Pittsburgh Ballet Theatre’s production of The Nutcracker. Investigate current practices in
the selling and buying of antique books, including ideas of perceived value and how market
competition and the internet have impacted pricing. Additionally, choose a piece of literature from
a British or American literature class and research how much a first, second, and third edition of
the printed piece of literature would cost today. (HS)
4. Investigate multi-national corporations that have established themselves in the United States
and one or more of the various countries represented in The Nutcracker: Spain, China, Russia,
and the countries on the Arabian Peninsula (Saudi Arabia, United Arab Emirates, Kuwait, Bahrain,
Yemen, Oman, and Qatar). What impact have these corporations had on each country they are
established in? How have these corporations created economic interdependence between these
countries? (MS, HS)
5. Since 2005, Pittsburgh Ballet Theatre has been unable to stage The Nutcracker to live music.
This year Pittsburgh Ballet Theatre will be performing 23 shows. Research what the cost would be
to hire an orchestra for twenty-four performances. (MS, HS)
6. Steel played a major role in Pittsburgh’s economy in 1900. What was the steel-making
success? Why was Pittsburgh a prime location for this industry? Who were some famous figures
in the steel industry? Were the steelworkers treated fairly? What were their salaries? What event
occurred as a result of tensions between steelworkers and big businesses? (MS, HS)
7. Several versions of The Nutcracker have been performed since its original inception. At what
point do artistic liberties create a distinct piece? Who should retain rights to “spin-offs”? Do you
think legal actions can be taken against people who violate copyright laws? Explore intellectual
property rights in other nations. How does their legal system differ from the United States? (HS)
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8. In PBT’s version of The Nutcracker, the Heinz family and the Kauffmann family attend the
Stahlbaum’s Christmas party. Research these two families and share their economic contributions
during the early 20th century. (ES, MS, HS)
Geography (PDE Academic Standards 7.1-7.4)
1. Compare and contrast maps from 1892 and today of the various countries represented in The
Nutcracker: Spain, China, Russia, and the countries on the Arabian Peninsula (Saudi Arabia, United
Arab Emirates, Kuwait, Bahrain, Yemen, Oman, and Qatar). (MS, HS)
2. PBT’s production of The Nutcracker is set right here in Pittsburgh in a neighborhood called
Shadyside. Research the settlement patterns of the neighborhoods in the city of Pittsburgh. What
groups of people settled into the various neighborhoods? What was their culture and average
socioeconomic status? How did these cultures and economics affect the architecture and business
of each neighborhood? (ES, MS, HS)
3. In the “Snowy Forest” scene in The Nutcracker, the backdrop is painted from a lookout on Mount
Washington. Look at maps and pictures of Western Pennsylvania. Describe the topography of
Western PA. Create your own topographical map of your home or your school. Research famous
“look outs” in Western Pennsylvania. (ES, MS)
4. How does the Snowy Forest scene in The Nutcracker remind you of winter here in Western
Pennsylvania? Discuss how people dress for winter and what they can do--both outdoors and
indoors--in the winter. Draw a picture of how you would dress in the winter and write a brief description of what you would do during the winter. (ES)
5. Map a journey from Pittsburgh to the various countries represented in The Nutcracker during 1892
when the ballet premiered and today: Spain, China, Russia, and the countries on the Arabian
Peninsula (Saudi Arabia, United Arab Emirates, Kuwait, Bahrain, Yemen, Oman, and Qatar).
Explore all the different ways you could travel to each of these countries. (MS, HS)
6. The Nutcracker is one of the major Christmas traditions in the United States. Explore Christmas
traditions from around the world. How is Christmas different in Latin America, Asia, Europe, Africa,
or the Middle East? Pick a country from each region and describe what their Christmas is like. Add
pictures or pull up Christmas songs. (ES, MS)
History (PDE Academic Standards 8.1-8.4)
1. A giant carousel appears in Act II of PBT’s production of The Nutcracker to represent the history
of carousels in the Pittsburgh region. How are carousels built? What images can be found in
carousels? Find out when the first carousel appeared in Western Pennsylvania, where other
carousels were built, and how many are still in existence today. (ES, MS, HS)
45
2. In Act II of The Nutcracker, the Marie and the Prince arrive at the Land of Enchantment,
where they are entertained by dancers from different countries. The dances, or divertissements,
reflect the ethnic and national cultures through the costumes, body movements, and dance steps.
Choose one country where they have relatives, where their ancestors were from, or just a country
in which they have an interest. Research the traditional dress of that country on the internet or in
library books. (ES, MS, HS)
3. The original Nutcracker was set in 19th century Russia, and Terrence Orr, the choreographer
of PBT’s version, set the story in late 19th century Pittsburgh. How would the ballet change if it
were set in another time period or place? Some suggestions to explore would be an early
civilization from ancient history, medieval Europe, or the pioneer days of the United States. How
would the costumes and sets differ? Using your knowledge of that time period, find what
celebrations and dances would likely have been included. (ES, MS, HS)
4. This production of The Nutcracker is set in Pittsburgh. (See page 12 for more details.) What
other Pittsburgh connections do you think should have been included in the production? How
would you incorporate them into the ballet? (ES, MS, HS)
5. The Nutcracker has become a holiday favorite since it first premiered in 1892. Research the
history of The Nutcracker in production and discuss why and how it became so popular. (MS, HS)
6. The house used as the showdrop at the beginning of The Nutcracker belonged to F.W. McKee
whose father started a large glass-manufacturing firm here in Pittsburgh. Investigate
glass manufacturing here in Pittsburgh and its impact upon the local economy. (MS, HS)
7. This production of The Nutcracker highlights the ancient curse the Rat King has placed upon
the Nephew, which resulted in his affliction for which he wears an eye-patch, and the Uncle’s
attempts to break that curse. How are such afflictions viewed in other cultures and religions? (HS)
8. The Nutcracker pays homage in many ways to people’s need for entertainment. Drosselmeyer
employs magic to entertain the children (and adults) at the Stahlbaum party. His “Jack-in-the-Box”
routine actually incorporates two characters from the Italian theatrical form commedia d’ell arte,
Harlequin (Arlecchino) and Columbina, denoted by their triangular patchwork costumes. Later, the
Ringmaster and clown scene reflects the long history of circuses and clowns throughout history.
Research the history of “clowning” and famous circuses that have existed. (MS, HS)
9. While the Arabian dance seems exotic and foreign compared to the rest, Arabian culture has
had tremendous influence on western civilization. So it’s not quite as foreign as it would seem!
Even in ballet, a classic move—the arabesque—means “in Arabic fashion.” What historical
contributions has Arabian culture made on western civilization? Look into contributions made in
literature, art, mathematics (numbers!), medicine, and science. (ES, MS, HS)
10. In Act I, the partygoers are entertained by dancing dolls. Two of which are Harlequin and
Columbine. Where do these characters come from? What other characters in The Nutcracker are
stock characters? Identify stock characters in other ballets. (MS, HS)
11. In The Nutcracker, the nutcracker toy is shaped to look like a soldier. What other kinds of
nutcrackers are there? Explore the history of nutcrackers. Have a wider variety been produced
since the ballet’s growth in popularity? (ES, MS)
46
12. The Rat King in The Nutcracker is the antagonist. Why do you think the enemy is portrayed
as a rat rather than another animal? What does a rat make you think of? Find out the symbolic
meaning of a rat then explore mythology and folk tales. Are rats used as antagonists in other
stories? If not rats, then what other animals are vilified? Are those perceptions the same today?
(ES, MS)
13. The Nutcracker Prince and his soldiers battle the dreaded Rat King and his army of mice.
What impact do rats and mice have on human health? How have rats and mice seriously affected
human existence? (MS, HS)
14. The Stahlbaum’s have a number of famous Pittsburgh-related guests at their Christmas
party. If that party were given again this year, what local guests would likely be invited? (ES, MS,
HS)
15. Research Pittsburgh’s diversity in the early 1900s. This was a time of immigration and growth
in the area. What cultures came to the area to begin a new life? Was there a possibility of a
better life in Pittsburgh for newcomers? (MS, HS)
16. Compare and contrast pictures of early 20th century Pittsburgh to modern-day. How has it
changed? How has it stayed the same? Does the scenery in The Nutcracker reflect the images of
early 20th century Pittsburgh? (ES)
Arts and Humanities (PDE Academic Standards 9.1-9.4)
1. Create a poster for The Nutcracker. How do you catch people's attention so they will read the
poster? What should be included in the poster to give all-important information? What can you
say to excite people about the ballet? (MS, HS)
2. Read the synopsis of The Nutcracker. Divide the class into three groups and assign each
group one of the following scenes to plan and paint: Christmas Eve at the home of Dr. and Frau
Stahlbaum at the arrival of Godfather Drosselmeyer; the battle of the mice and the toy soldiers;
the Land of Enchantment. After the three murals are completed hang them in story order and
have each group describe and/or act out the action of the scene. (ES, MS, HS)
3. Make your own costume from “found” materials (such as cardboard tubes, newspaper,
recycled bottles, etc.) for one of the following characters: Marie, the Nutcracker, the Rat King,
Drosselmeyer, and the Sugarplum Fairy. Write a short paragraph describing the various elements of your costume, the materials you used, and why you used those materials. (ES, MS, HS)
4. In the section The History of The Nutcracker Ballet on page 5, there is an illustration of
Petipa's directions for Tchaikovsky's music composition. Listen to the first section of music on
the CD and follow along. Discuss the following questions: How does the music fulfill the request
of Petipa? Where in the selection do you think the tree is supposed to be lighted? How does the
music give you some insight into the character of Uncle Drosselmeyer? (ES, MS, HS)
5. The music for “The Battle of the Mice” and “The Waltz of the Snowflakes” displays different
qualities. Listen to each piece on the CD. Create an acrostic poem that describes the music and
action of the scene. Share poems with the class. (ES, MS)
47
6. Tchaikovsky was one of the first composers to use a new (in 1892, that is!) instrument called the
celesta (che-LE-sta). In The Nutcracker, it provides the distinctively delicate tinkling notes in “Dance
of the Sugarplum Fairy.” Taken from the French word for “heavenly,” the celesta gives a magical,
dreamy or other-worldly feeling to the music. On the CD provided with this handbook, listen to the
last track, “Dance of the Sugarplum Fairy.” Describe what the celesta sounds like, what it makes
them think of, and how it makes them feel. Research what the instrument looks like and is made of.
How is sound created by the celesta? What other pieces of music use the celesta? Listen to
selections and compare and contrast with the “Dance of the Sugarplum Fairy.” (ES, MS, HS)
7. In Act II of The Nutcracker, Marie and the Prince arrive at the Land of Enchantment, where they
are entertained by dancers from different countries. The dances, or divertissements, reflect the
ethnic and national cultures through the costumes, body movements, and dance steps. In small
groups, choose a country that is of interest to them. Research the traditional dress of that country.
Based on the research, create a dance costume inspired by the traditional dress of that country
(remember: the dancers have to be able to move!). Include hats, jewelry and make up, if it is
appropriate to the dress of country they chose. Have them label their completed drawing with the
country of origin. (MS, HS)
8. Folk dancing provides the foundation for the various divertissements in Act II and is also reflected
in Act I during the party’s “Scottish” dance. Today, folk dancing is thriving right here in Pittsburgh!
Research various folk dancing groups in existence in the Pittsburgh area. What type of dancing do
they teach? If possible, learn a few steps from the folk dance you are researching and teach to your
classmates. (ES, MS, HS)
9. The Nutcracker contains two very famous pas de deux: one with the Snow Queen and Snow King
and one with the Sugarplum fairy and her Cavalier. Research the form of the pas de deux and
compare and contrast with other combinations of two in other art forms, such as musical duets,
dialogue in drama, and couplets in poetry. (MS, HS)
10. Review the story sequence of The Nutcracker by creating “frozen pictures” or tableaux in small
groups. Each group decides upon 5 key moments of the story and creates a tableaux for each
moment. Share tableaux and record what moments each group has chosen. Discuss story structure
(exposition, conflict, rising action, climax, and resolution) and how the tableaux depict various parts
of the story structure. Also discuss the aesthetic experience of tableaux and how the production
utilized moments of tableaux. (ES, MS, HS)
11. Create “tickets” for The Nutcracker. Discuss what is listed on the ticket (title of production, time,
date, etc.) and how much the tickets cost. Role-play selling tickets over the phone and in-person,
collecting tickets at the door, and finding your seats in the theatre. (ES, MS, HS)
12. Explore different rhythms Tchaikovsky uses in The Nutcracker, such as the waltz and the march.
Identify the sections where these and other rhythms are used and then try playing the rhythms on
instruments or by clapping your hands. Describe qualities of each rhythm. (ES, MS)
13. In each of the various “country” dances in Act II, Tchaikovsky tried to use rhythms and instruments that reflected that country. Research traditional instruments and rhythms of these countries:
Spain, China, Russia, and Arabia. Which instruments and rhythms do you hear reflected in the
music? Research contemporary music being created in these countries and describe instruments
and rhythms being used. How has music changed in these countries since 1892 and why? (ES, MS,
HS)
48
14. Find and experiment playing with some of the “toy instruments,” such as toy trumpet, a triangle,
a snare drum, cuckoo and nightingale whistles, and a rattle, that Tchaikovsky used for musical
effects in The Nutcracker. What different sound qualities does each instrument have? (ES, MS, HS)
15. Mr. Orr, while creating a classical ballet, also makes the production relevant through
incorporating contemporary dance moves. What dance moves from the 1980s, 1990s, and the 21 st
Century do you see employed by the dancers? What effects does this have on your experience?
How effective do you think the mixing of dance genres is in telling the story and your overall
experience? (MS, HS)
16. Russia has had tremendous influence on the art of ballet, particularly in the last 150 years.
Not only was one of the premier composers for ballet from Russia (Tchaikovsky), but the St.
Petersburg Imperial Theatre and Ballet Russes have made significant contributions to the art of
ballet. Explore Russia’s impact on ballet through companies, choreographers, composers, and
individual dancers. Also, investigate how Russian ballet differs in technique and style from French
ballet and American ballet. (MS, HS)
17. Pittsburgh Ballet Theatre’s production of The Nutcracker is Pittsburgh themed. How can you
make people who are not from Pittsburgh realize that Pittsburgh is the setting of this production
through scenery and costumes? (ES, MS, HS)
18. Pittsburgh Ballet Theatre’s The Nutcracker takes place in Pittsburgh. If you were to choose a
different setting, where would it be? Would the weather be the same? What time of day or night?
Would this change the story? Why or why not? In teams, use paper to create a 3-D setting for your
version of The Nutcracker. (ES)
Health, Safety, and Physical Education (PDE Academic Standards 10.1-10.5)
1. Marie faints at the sight of the Mice coming towards her. Investigate the causes of fainting and
the biophysical processes that occur when someone faints. How can you help someone who has
fainted? (MS, HS)
2. In 1892 when The Nutcracker premiered, real candles would have been used to illuminate the
Christmas tree. What safety hazards does this pose? What precautions could you take if you were
to use real candles? Create a fire escape plan in the event that the candles start a fire. (ES, MS)
3. Create a 7-day diet for a professional dancer who is dancing in The Nutcracker. In a week, a
professional dancer would average 5 performances of The Nutcracker and an additional 7.5 hours
of warm-up class on top of that. Take into account their level of physical activity and their nutritional
needs. (MS, HS)
4. In 1892, the year of The Nutcracker’s premiere, pineapple was made available in cans.
Research ways food was preserved before the inventions of canned foods. Did the H. J. Heinz
company have any role in canned foods? (MS, HS)
5. In 1840, the year of Tchaikovsky’s birth, the Detroit Curling Club was established. Explore the
development of curling. Include rules, team strategy, etc. Investigate how knowledge of physics can
help a player improve in curling. (MS, HS)
49
6. Each set of dancers in Act II performs a dance from their country. How are the dances and music
inspired by the different countries? Try learning a style of dance from another country. What are
some dance styles born in the United States? How are they different from the new style you
learned? What are some similarities? (ES, MS, HS)
Family and Consumer Sciences (PDE Academic Standards 11.1-11.4)
1. Terrence Orr returned to E.T.A. Hoffman’s original story by making Marie older in PBT’s
production of The Nutcracker. He draws attention to her becoming an adult, represented by the
gifts of a scarf and pointe shoes in Act I. What “coming of age” rituals are in your culture? Research
coming of age rituals in other cultures throughout history. (MS, HS)
2. Plan a dinner party like the one seen in The Nutcracker. Plan a budget, a menu, and create a
seating chart for your guests. Consider a theme for the party and investigate where you would buy
supplies and a timeline for cooking the food. (ES, MS, HS)
3. Discuss the term “coming of age.” How is PBT’s production of The Nutcracker a “coming of age”
story? Hint: Watch the scarf and how it is used throughout the course of the production. What developmental characteristics are seen in adolescents? (MS, HS)
4. The Nutcracker opens on Christmas Eve at a celebration at the Stahlbaum residence. Discuss
holiday celebrations of the students. What are these celebrations called? What family and friends
are involved and what are their roles during the celebrations? What are the major differences
between the various celebrations? (ES, MS, HS)
5. Ellis Island was established as an immigrant inspection station the same year as The Nutcracker
premiered. Explore tenement housing and immigrant living conditions at the turn of the century.
(ES, MS)
6. Investigate what life was like in the early 1900s in Shadyside. What was life like for other less
wealthy neighborhoods in Pittsburgh? Select a neighborhood and compare and contrast how
children lived in this setting. Did they have to work to provide for their family? What recreation was
available? How small was their living space? What was the average income? (MS, HS)
7. The children at the Stahlbaum’s Christmas party play with a variety of toys and receive gifts. If
that party were held today, what games would be popular with the kids? What would be common
gifts they’d receive? (ES, MS, HS)
8. The Nutcracker’s original choreographer, Marius Petipa, died in 1910- the same year that
Father’s Day was first celebrated. Why was this day established and for what purpose? Discuss
historical duties and roles for fathers and patriarchs. How does marketing today for Father’s Day
perpetuate or breakdown stereotypes of fatherhood? Plan a Father’s Day event for a man in your
life. Create a budget and choose a location for this event. How are fathers portrayed in The
Nutcracker? (ES, MS, HS)
50
9. Usually in The Nutcracker, the role of Marie is danced by a younger child. What do you think are
some of the reasons why Marie is portrayed as a young woman in this production? How does this
change the story? Research the role of young women in the time period presented in this
production. Compare and contrast the roles and societal expectations of young women and those
of the same age group of today. (ES, MS, HS)
World Languages (PDE Academic Standards 12.1-12.6)
1. Investigate different cultural celebrations of Christmas or other winter holidays. (ES, MS, HS)
2. Investigate the various alphabets used in the countries represented in The Nutcracker: Spain,
China, Russia, and Arabia. Research the linguistic history of the languages and note any
similarities between the alphabets. (ES, MS, HS)
3. Analyze the pronunciation of ballet terms in this resource guide. What conclusions can you
draw about French phonemes from your analysis? Investigate the French influence on the
English language. (MS, HS)
4. The Chinese dance includes a symbol of China, the dragon. What is the significance of the
dragon in Chinese culture? Research the character for “dragon” in the Chinese language and learn
to write it. (ES, MS)
5. How are the Arabian, Chinese, Spanish dances, etc., represented and why are they
represented in that way? How would their representation change if the ballet were created in
today’s times? (MS, HS)
6. Act II of The Nutcracker includes a grand festival with dancers from many lands entertaining
Marie and the Prince. Select a country that is not represented in the ballet. Research traditional
dance and costumes from this area, then create a replica of a costume and perform the dance.
Add a list of terms of common steps or movements. (ES, MS, HS)
7. The Land of Enchantment has characters from all over the world. Identify which country these
characters would come from. Next, identify what language would be spoken and if there are any
different dialects. Identify what the prominent religion would be for each of the countries. (MS,HS)
Career Education (PDE Academic Standards 13.1-13.4)
1. Tchaikovsky worked as a “clerk first-class” during his early twenties. Research what this job
entailed, skills needed, and how one became a “clerk.” Later, Tchaikovsky would become a
full-time composer. Research the career path he took and how one might become a composer
today. (MS, HS)
2. Many famous families--such as the Heinz family and Kaufmann family--are represented in PBT’s
production of The Nutcracker. Investigate famous families of Pittsburgh. How did these
entrepreneurs start their businesses and make their money? (ES, MS, HS)
3. A police officer arrives at the Stahlbaum’s party to partake in the festivities. Research the duties
and career path of a police officer at the turn of the 20th century and during contemporary times.
Compare and contrast career paths and expected job duties and skills. (ES, MS, HS)
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4. Read through two “Getting to Know You” profiles on dancers in our Company. What
personal attributes and attitudes can you infer from the profiles that have contributed to their
success? What attitudes and values do you think does dance and ballet teach that can be
transferred to every day life? (MS, HS)
5.The Nutcracker ballet was adapted from a story written by E.T.A. Hoffman. Think about popular
stories today such as the Harry Potter series or The Hunger Games series. How would you adapt
one of these stories into a ballet? What elements would be needed to bring these characters to life?
Describe the music, special effects, costumes, and scenery you would use. How would you tell
these stories without words? (ES, MS, HS)
6. Backstage assistance plays a huge role in any ballet production. What are some jobs for
people working backstage during the show? What do these jobs entail?
Business and Computer IT (PDE Academic Standards 15:1-15:9)
1. At first, Tchaikovsky supported himself by teaching at the Moscow Conservatory, and then a
wealthy widow gave him enough financial support that he was able to stop teaching and focus solely
on his creative endeavors. If Tchaikovsky were attempting to make a living as a composer today,
how might he do this? What would his funding source be? How is funding for artists different today
from the late 1800s? (HS)
2. Imagine how in the future technology might be used to enhance performance experience.
Describe watching a ballet at the theatre 100 years in the future. Do you believe technology
could ever replace the experience of live performance? What would be gained, and what would
be lost? (MS, HS)
3. If you were to create a digital recording of the performance of the The Nutcracker how would it
differ from seeing it live? What technologies could you use to enhance viewing it digitally rather than
in person? How could you replicate an experience aesthetic of textures, sound, lighting, and
movement? (MS, HS)
4. Create an animated version of the Land of Enchantment. Use a variety of art materials to create
puppet characters. Create backgrounds that embody the enchanted land. Create a storyboard of
actions and dialogue with fellow classmates. Use the backgrounds and puppets to create an
animation with i pads using the i-animate app. Add music. Put the animation on YouTube or create
DVDs to sell as a fundraiser. (MS, HS)
5. Pittsburgh Ballet Theatre’s version of The Nutcracker takes place at the Stahlbaum home in the
early 20th century. Research some prominent families in the Pittsburgh area during this period. What
businesses or industries were successful in Pittsburgh at this time? Track the progression of these
businesses. Are any of these same businesses still in operation today? How have they changed?
(MS, HS)
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6. The Nutcracker has become a “cash cow” for US ballet companies. What does “cash cow”
mean? What is the history of this phrase? How does a reliance on “cash cows” affect businesses
and financial decisions? What other sectors or industries have equivalent “cash cows’?
7. The Nutcracker was a box office failure when it first premiered. How can industries protect
themselves from failure? Analyze terms like “Return on Investment” and “risk assessment” and how
they relate to business practices. What recent “failures” in other art areas have you witnesses?
What other turn around stories have you heard and how did these “failures” finally become
successes? (ES, MS)
8. If the Stahlbaum’s party occurred in 2014, how would consumer electronics change the
interaction of the children with each other and Drosselmeyer? Would Drosselmeyer do something
other than magic tricks? Write a 21st century version of the party and compare the early 20th century
to today’s times. (ES, MS)
9. Tchaikovsky was the first Russian composer to incorporate the celesta into his music. However,
he kept this a secret from his contemporaries. Why do you think Tchaikovsky would have wanted
this to remain a secret? What are some advantages of differentiating yourself from competitors in
your field? How is this strategy used in other businesses? (MS, HS)
Student Interpersonal Skills (PDE Academic Standards 16:1-16:3)
1. Ballet is a nonverbal art form. What other non-verbal art forms are there? Use the synopsis
on pages 10-11 or page 47 as a guide to retell the story of the Nutcracker using a non-verbal
art form that is NOT ballet. (ES, MS, HS)
2. Since there is no talking in ballet, dancers must express emotion in other ways. Create a list
of techniques dancers used to express emotion throughout the performance. How does lighting,
scenic design, costume and music contribute to the emotion of a particular scene? (MS, HS)
3. Tchaikovsky died before The Nutcracker became a success. Impressionists were also
considered failures by the public and critics at the same time period. Many continued to pursue this
style despite the negativity. Vincent Van Gogh, like Tchaikovsky, died before the knowing of his
success. Who supported these artists and why? How can you be supportive of new artists today?
What are new forms of arts that the public views negatively? Why do you think these people feel
this way? (ES, MS, HS)
4. The year choreographer Marius Petipa died was the same year Boy Scouts of America (BSA)
was founded. What code of ethics does BSA follow? How is it similar to other scouting
organizations, such as GSA? What roles do scouting organizations play in fostering peer
relationships? What skills for conflict resolution do scouting organizations espouse? Create your
own scouting organization with its own code of ethics. (ES, MS, HS)
5. Drosselmeyer’s nephew has something different about his face. Do people treat him differently
because of this? When the rat king is defeated, the nephew’s face is restored. Can you tell that a
person is bad by the way they look? What are some stereotypes you’ve seen or read about where
the villain is also ugly? (ES, MS, HS)
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Lexile Reading Measures
Section
Page
Lexile Measure
Nutcracker Ballet
5
1120
Tchaikovsky bio
7
1070
Synopsis
10
1040
Pittsburgh Connection
11
1040
Choreography
13
1140
Signature step
15
1050
The Costumes
16
1000
Scenic Design
18
1180
Elementary synopsis
47
810
54
The Nutcracker Elementary Synopsis
It is Christmas Eve in the early 20th century at a home in Shadyside. Godfather Drosselmeyer and
his Nephew unload presents from their cart. The Nephew’s eye patch frightens many of the guests
as they arrive. Drosselmeyer comforts his Nephew by revealing the magical Nutcracker.
In her bedroom Marie reads a Christmas storybook. Her parents present her with two special gifts, a
scarf and a pair of ballet shoes. These gifts show how Marie is growing up from a girl to a young
woman. Marie admires herself in the mirror and sees a vision of a beautiful fairy ballerina.
Back outside on the street, Drosselmeyer holds the Nutcracker. He remembers how his Nephew
was cursed by the seven-headed Rat King. He wonders if the curse will finally be broken tonight.
The party is under way. The guests exchange gifts, trim the tree and dance. Drosselmeyer performs
magic tricks for the children, but he has even bigger plans in store for Marie. He introduces her to
his Nephew. As Drosselmeyer had hoped, Marie sees past the Nephew’s eye patch to the goodness
inside him. Next he gives her the Nutcracker. She immediately adores it. The party ends with one
last magic trick. The guests say their goodbyes, and the family goes to bed.
Drosselmeyer reappears. He gets ready for the magical night to come. As midnight approaches,
Marie tip toes downstairs to find her Nutcracker. But Marie is not alone. Mice and human-sized rats
threaten her from every side. She is so frightened that she faints. When she wakes up, she finds
herself and the whole house under a spell. Everything is growing, even her Nutcracker, who
becomes life-sized. The mice and rats return to terrify Marie, but Nutcracker rallies the toy soldiers
and storybook characters to rescue Marie.
As the battle reaches its peak, Marie helps the Nutcracker defeat the Rat King by throwing her shoe
at him. Because of her concern for the Nutcracker, the spell is broken. He is transformed into a
handsome Prince. He invites Marie on a journey through the glittering snowy forest to the Land of
Enchantment. Guided by the Snow King and Queen, they set off on a magical sleigh ride.
Marie and the Prince arrive in the Land of Enchantment. The Sugarplum Fairy, the vision Marie saw
in her mirror, and her Cavalier greet the travelers. The Prince retells the tale of the battle and how
Marie saved his life. The Sugarplum Fairy presents Marie with a beautiful a tiara as a thank-you gift.
Marie expresses her gratitude in a dance with the Flowers.
The grand festival begins, with dancers from many lands entertaining Marie and the Prince. Her visit
to the Land of Enchantment ends with a grand duet danced by the Sugarplum Fairy and her
Cavalier.
Suddenly, Christmas Day dawns on the street outside the Stahlbaum home. Drosselmeyer and his
Nephew make their way to their cart. They stop to reflect on the night's magnificent events. Marie's
compassion has broken the Rat King's curse and the Nephew's handsome face is restored.
Marie awakens in her bedroom. Was it all a dream? She finds her beautiful scarf, a souvenir of her
visit to the Land of Enchantment. Can it be? She rushes to the mirror. Staring back at her, ever
faithful, is her Nutcracker Prince.
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