The Nutcracker - Pittsburgh Ballet Theatre

Teacher Resource GuideStudent Matinee, December 6, 20131

Teacher Resource GuideChoreography by Terrence S. OrrCostume and Scenic Design by Zack BrownMusic by Peter Ilych TchaikovskyStudent Matinee, December 6, 2013The Benedum Center for the Performing ArtsPresenting SponsorS Student Matinee Sponsor In-Step SponsorMany thanks to our Autism-Friendly Performance Sponsors:Edith Trees Foundation, PITT OHIO, FISA Foundation, the Children’s InstituteThe Pittsburgh Ballet Theatre Education Department is grateful for the support of the followingorganizations:Allegheny Regional Asset DistrictAllegheny Technologies, Inc.Buncher Family FoundationAnne L. and George H. Clapp Charitable andEducational TrustClaude Worthington Benedum FoundationCleveland Brothers Equipment Co., Inc.Direct Energy BusinessDominion FoundationEat ‘n Park Restaurants, Inc.ESB BankFirst Commonwealth BankHenry C. Frick Educational Fund of The BuhlFoundationThe Huntington National BankGENCO Supply Chain SolutionsThe Grable FoundationHefren-Tillotson, Inc.The Heinz EndowmentsNet Health SystemsPeoples Natural GasPennsylvania Council on the ArtsPennsylvania Department of Community andEconomic DevelopmentPNC BankPPG Industries, Inc.Richard King Mellon FoundationJames M. and Lucy K. SchoonmakerFoundationEdith L. Trees Charitable TrustUPMC Health PlanHilda M. Willis FoundationCover photo by Rich Sofranko, 2012. Artist: GabrielleThurlow, Production Guide created by PBT’s Departmentof Education and Community Engagement, 2013.2

CONTENTS5 The Nutcracker Ballet6 Important Dates for The Nutcracker BalletDid You Know? Hoffmann’s The Nutcracker and the Mouse King7 Characteristics of a Story Ballet in the Late 19th Century7 The Composer: Peter Ilych Tchaikovsky8 A Nutcracker Innovation: The CelestaWhat is The Nutcracker Suite?9 Did You Know? Tchaikovsky’s Nutcracker9 Cast List and Setting for PBT’s The Nutcracker10 Synopsis11 The Pittsburgh Connection13 The Choreography15 Signature Steps—Piourette and Balancé16 The Costumes18 The Scenic Design18 Getting to Know PBT’s Dancers19 The Benedum Center19 AccessibilityActivities20 Nutcracker Word Search21 It’s Nutcracker Time! Clock Activities23 Kaufmann’s Christmas Storybook24 Nutcracker Map Activity26 Stick Puppets Template27 Listening Guide33 Entry Pointes (Aligned with PDE Academic Standards)34 Reading, Writing, Speaking, and Listening (PDE Academic Standards 1.1-1.9)36 Mathematics (PDE Academic Standards 2.1-2.11 )38 Science and Technology and Engineering (PDE Academic Standards 3.1-3.4)39 Environment and Ecology (PDE Academic Standards 4.1-4.5)40 Civics and Government (PDE Academic Standards 5.1-5.4)40 Economics (PDE Academic Standards 6.1-6.5)41 Geography (PDE Academic Standards 7.1-7.4)41 History (PDE Academic Standards 8.1-8.4)42 Arts and Humanities (PDE Academic Standards 9.1-9.4)44 Heath, Safety and Physical Education (PDE Academic Standards 10.1-10.5)45 Family and Consumer Sciences (PDE Academic Standards 11.1-11.4)45 World Languages (PDE Academic Standards 12.1-12.6)45 Career Education (PDE Academic Standards 13.1-13.4)46 Business and Computer IT (PDE Academic Standards 15:1-15:9)46 Student Interpersonal Skills (PDE Academic Standards 16:1-16:3)46 Lexile Reading Measures List46 Elementary Synopsis48 Word Search Answer Key3

Dear Educator:October 2013This is a particularly busy time of year for students and teachers, both at school and at home. Sowe especially appreciate that you have taken the time to plan for, organize, and execute a visit tothe Benedum Center to see Pittsburgh Ballet Theatre’s The Nutcracker. We know you will not bedisappointed—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 thisballet, one of the most beloved of all time, even before you come to the Benedum. This resourceguide for The Nutcracker includes:background information about the history of the original ballet and about PBT’s unique Pittsburgh-themedversion.lesson prompts—which we call Entry Pointes—aligned with PDE academic standards, to assistyou in extending the experience of The Nutcracker into your classroom. These prompts will helpyou engage students in history by exploring the Pittsburgh elements of the ballet, connect studentswith science and math through thematic and theater-based activities, and even encouragestudents to explore the cultures represented in the ethnic dances in the ballet.A listening guide and suggestions for musical activities that bring Tchaikovsky’s masterpieceinto closer focus. Select excerpts of Tchaikovsky’s music are included on the CD.We offer dozens of options to help prepare your students for their experience at the Benedum andwe hope you will take advantage of all the learning opportunities associated with attending a ballet.We welcome you to the theater on December 6th to discover The Nutcracker and the art and disciplineof ballet. Thank you for your commitment to incorporating the arts into your curriculum and topromoting 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 an autism-friendly performance of The Nutcrackeron December 27—we are the first professional ballet company in the nation to do so. Seepage 19 of this guide for more information. Please pass the word to friends and colleagues whomight know or work with children or adults on the autism spectrum.We wish you a successful school year and look forward to seeing you at the Benedum!Sincerely,Terrence S. OrrArtistic Director4

The Nutcracker ballet was created in 1892 inRussia, which at the time was ruled by a Czar.In the capitol, St. Petersburg, the famous ImperialTheatrical School and the Mariinsky Theaterwere supported by the royal family. Respect forart and music was a highly regarded czarist tradition.5The Nutcracker BalletThe Imperial Theater regularly created music,opera and ballet programs for the entertainmentof the Czar. The Theater’s director, I. A. Vsevolozhsky,decided to create a ballet based on a Original sketch for the set of The Nutcracker, Act II, 1892rather dark story, The Nutcracker and the Mouse King. Written in 1816 by German Romantic authorE.T.A. Hoffman, the story was widely known in Russia. It had been adapted in 1844 by French authorAlexandre Dumas (author of The Three Musketeers), whose version is seen by some as a simpler,lighter and less scary story.Marius Petipa, the ballet master at the Imperial School, was given the task of translating the storyinto ballet. Because he didn’t read German, he wasn’t familiar with Hoffmann’s book and insteadused 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 Tchaikovskyhad worked together on the very successful 1890 ballet The Sleeping Beauty. Petipa gave Tchaikovskydetailed musical notes, even down to the number of bars and the tempo. For the “ArabianDance” (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 barsof charming and voluptuous music.When Petipa fell ill his assistant, Lev Ivanov, took over the project. There is still debate as to howmuch of the choreography was created by each.The Nutcracker premiered at the Mariinsky Theatre in December 1892, along with Tchaikovsky’sopera, Iolanta, which was performed first. (In France it was common to perform a ballet following anopera; this became the tradition in Russia as well.) The audience and critical reaction to the balletwas 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 factthat the showcase for the ballerina (the “Dance of the Sugar Plum Fairy”) didn’t occur until almostmidnight (due to Iolanta being staged first). The score was much better-received, and was recognizedby most critics for its beauty and inspirational melodies.The ballet wasn’t particularly popular in Russia and was performed only sporadically and in shortenedversions for several decades. It was first performed in Great Britain in 1934 and was broughtto the United States in 1944 (first performed here by San Francisco Opera Ballet). George Balanchine’s1954 version for New York City Ballet popularized the ballet and it soon became a Christmasholiday tradition in the U.S. Today hundreds of versions of the ballet are performed every year.

Important Dates for The Nutcracker ballet1776—E.T.A. Hoffman, German Romantic author, is born1816—Hoffmann writes the story The Nutcracker and the Mouse King (Nussknacker und Mausekönig)1818—Marius Petipa, French ballet dancer and choreographer, and The Nutcracker’s original librettistand choreographer, is born1840—Tchaikovsky is born1844—Alexandre Dumas writes an adaptation of Hoffmann’s novel: The Nutcracker (Histoire d’uncasse-noisette), which will form the basis of the ballet1892—The Nutcracker ballet premieres in December at the Imperial Mariinsky Theater in St. Petersburg,Russia1893—Tchaikovsky dies1944—The San Francisco Opera Ballet presents the first full-length production of The Nutcracker inthe United States1954—New York City Ballet choreographer George Balanchine creates his famous version of TheNutcracker2002—Pittsburgh Ballet Theatre’s Artistic Director Terrence S. Orr creates PBT’s version of TheNutcracker, with an enhanced storyline, new choreography, and a Pittsburgh themeDid you Know? Hoffmann’s The Nutcracker and the Mouse KingHoffmann was a Romantic-era author whose stories rebelled against rationalism (the dominantmovement of his time was the Enlightenment, which emphasized rational thinking). He stresseda return to nature, to imagination, and creativity.The main character’s name in Hoffmann’s original story is Marie, which is also the name PBTuses. Dumas changed the name to Clara in his 1844 version, the name many ballet companiesuse in their productions.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 toSilberhaus (“silver house”)—a gentler image. (PBT uses Stahlbaum.)Hoffmann’s name for the uncle, Drosselmeyer, loosely translated means “one who stirs thingsup.”“The Story of the Hard Nut” is a story within Hoffmann’s Nutcracker that explains how the nephewbecame disfigured and was turned into a Nutcracker. This is generally not included in balletversions of the story. (Contemporary choreographer Mark Morris created a Nutcracker balletset in the 1960s and called it “The Hard Nut.”)In Germany during Hoffmann’s time nutcrackers were carved in the image of local officials topoke fun at them.One of Hoffmann’s other stories, The Sandman, is the basis for the ballet, Coppelia.6

Characteristics of a Story Ballet in the Late-19th CenturyStory ballets created at the time of The Nutcracker had common elements that allowed for thetalents and abilities of the dancers to be prominently displayed. (See below for definitions of termsin italics.)Focus was on a main female character danced by the prima ballerinaPrima ballerina dances pas de deux with variations and codaPrima ballerina dances at least one pas d'action to display her miming abilitiesPremier danseur has several variations to show his techniqueA sampling of pas de caractères gives soloists an opportunity to display their abilitiesGrand march at the end brings the Corps de Ballet on stage to provide a backdrop for a lastdance by the ballerinaClassical Ballet TermsBallerina: leading classical or principal dancerof a ballet companyCoda: The conclusion or ending of a pas dedeux.Corps de Ballet: The chorus of the ballet; dancerswho appear in large groups. These dancersprovide a background for the principal dancersand help to fill out story lines. Their dances alsoprovide time for the principal dancers to changecostumes.Pas d'Action: portions of the ballet that can helpto develop the plot or depict an activity, they area combination of dancing and pantomime.Pas de Caractère: character dance, national orfolk dance.Pas de Deux: dance for two.Premier Danseur: Classical male dancer, thefirst male dancer of a company or PrincipalDancer. His dances will be challenging displaysof classical technique.Prima Ballerina: When there is more than oneprincipal dancer in a company the prima ballerinais the first female dancer of a company.Variation: solo dance“The Nutcracker” is one of the great miracles of music.Berlin Philharmonic Conductor Sir Simon RattlePeter Ilyich Tchaikovsky was born in Kamsko-Votinsk, Russia onMay 7, 1840. He was a precocious child who could read Frenchand German at the age of six and at age seven was writing versesin French. He began taking piano lessons when he was sevenyears old. He showed an ultra-sensitivity to music and had a delicatemusical ear.Composer Peter Ilyich TchaikovskyIn 1850 his well-to-do middle-class family moved to St. Petersburgwhere he attended school. He was mildly interested in musicand at age 14 began attempting composition. By the time hegraduated from the School of Jurisprudence in 1859 and hadstarted work as a clerk first-class, his family had lost most of theirmoney due to bad investments. Tchaikovsky ended up making agreat deal of money during his life, but gave away much of it andfreely spent the rest.7Painting of Tchaikovsky by Nikolay Kuznetsov,1893

At age twenty-one he began to study music seriously. He worked with Nicolia Zaremba until theSt. Petersburg Conservatory opened in 1862. He was one of the best students at the conservatoryand in 1866 he moved to Moscow to be a harmony teacher for the Moscow Conservatory. He leda 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 conditionto the widow's financial support—they were never to meet. With this financial independence, hewas able to resign from the Conservatory in 1878.When Tchaikovsky first began composing music for ballet, in the mid to late 1800s, ballet musicwas considered unimaginative: the music world was astonished that such a great composer would"stoop so low." But he showed an unprecedented mastery of the art, creating vivid orchestrations,effective themes and melodies that flawlessly matched physical movements.* He went on tocompose three full-length ballets that would become enduring masterworks of the genre: SwanLake, The Sleeping Beauty, and The Nutcracker.*The New Grove Dictionary of Music and Musicians, p. 152-3A Nutcracker Innovation: The CelestaFor The Nutcracker Tchaikovsky created a number of musical effects usingunusual instruments, including a toy trumpet, cuckoo and nightingale whistles,and a rattle that produced the sounds of a nutcracker cracking nuts. Butperhaps the most exciting musical innovation was the use of the celeste (che-LE-sta), an instrument invented in Paris in 1886. Tchaikovsky had used it inhis symphonic poem The Voyevoda in 1891 but it was still relatively unknownas he composed The Nutcracker. He knew it would be perfect for musicallyrepresenting the Sugar Plum Fairy and wanted to keep its use a secret fromcritics and other composers. He wouldn’t even allow it to be used inrehearsals until the final one just before the performance. Tchaikovsky’sinstincts were correct—the celesta was a sensation.The celesta looks like a small piano though it is actually part of the percussion family. Instead ofhitting 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 wonderand magic. In the “Dance of the Sugar Plum Fairy,” Tchaikovsky uses the celesta to help create themagical, alternate reality that Marie finds herself in.Many composers have used the celesta to create magical or mysterious effects. Listen to:“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“Won’t You Be My Neighbor” (Theme song for Mister Rogers’ Neighborhood television show), byFred Rogers“Neptune, the Mystic,” from The Planets, an orchestral suite by Gustav Holst8Photo by Gregory Maxwell. Image SourceWhat is The Nutcracker Suite? A selection of eight of The Nutcracker’s musical numbers—”Overture,”“March,” “Dance of the Sugar Plum Fairy,” “Russian,” “Arabian,” “Chinese,” “Reed-Flutes,” and “Waltz of theFlowers.” Though not finished with the complete ballet yet, Tchaikovsky conducted these works in a concertin March of 1892 to great acclaim. The Suite has remained a popular concert piece for more than 120 years.It was featured in Walt Disney’s 1940 film, Fantasia.

Did You Know? Tchaikovsky’s NutcrackerTchaikovsky didn’t particularly want to create a ballet based on the story of The Nutcracker. Heworried whether it was suitable for ballet and generally felt uninspired at the beginning of theproject. He did become “more attuned to the task” as time went on.The original ballet is only 85 minutes long, much shorter than Tchaikovsky’s other ballets, SwanLake (approximately 2 hours) and The Sleeping Beauty (almost 4 hours).Tchaikovsky felt that The Nutcracker was “infinitely poorer” than his music for The SleepingBeauty.Tchaikovsky’s sister died during the time he was composing The Nutcracker. Scholars havesuggested that music for “Dance of the Sugar Plum Fairy” was an expression of Tchaikovsky’sgrief, noting its descending octaves and funereal rhythm, contrasting with the “heavenly” soundof the celesta.Tchaikovsky based the Arabian Dance—meant to sound exotic and Middle-Eastern—on aGeorgian lullaby. Tchaikovsky died from cholera eleven months after the premiere of The Nutcracker at age 53.Jazz greats Duke Ellington and Billy Strayhorn (who grew up in Pittsburgh) created a jazzversion of The Nutcracker Suite in 1960.Cast List and Setting for PBT’s The NutcrackerCast List (in order of appearance):ACT IMarie StahlbaumDrosselmeyerHis NephewMrs. StahlbaumDr. StahlbaumFritz, Marie’s brotherGrandmotherGrandfatherMr. and Mrs. GrandviewMr. and Mrs. HeinzMr. and Mrs. KaufmannAunt HortenseOverview of the SettingAunt GertrudeGeneralMr. McTavishYoung McTavishHarlequinColumbinaPirateThe NutcrackerRat KingRatsSnow QueenSnow KingSnowflakesACT IIThe PrinceFlowersSpanish dancersChinese dancersArabian dancersRussian dancersShepherdessesRingmasterSugarplum FairySugarplum CavalierIn Pittsburgh in the early years of the 20 th century, on Christmas EveAct 1, Scene 1: The Stahlbaum’s home—the F.W. Mckee house in ShadysideAct 1, Scene 2: A Snowy Forest—the view from Mt. WashingtonAct 2, Scene 1: The Land of Enchantment—an amusement park9

Act 1Synopsis of PBT’s The NutcrackerIt is Christmas Eve in the early years of the 20 th century at the Stahlbaum home in Shadyside. Onthe street outside, Godfather Drosselmeyer and his Nephew unload mysterious packages fromtheir 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 unveilsthe Nutcracker, revealing its role in this night of magic.In her bedroom Marie, the Stahlbaum's daughter, is reading Kaufmann’s Christmas Stories forBoys and Girls. Dr. and Mrs. Stahlbaum enter and present her with two special gifts – a beautifulscarf and a pair of pointe shoes – that signify Marie's coming of age as a young woman. Marieadmires her new self in the mirror and sees a vision from her dreams of a beautiful fairy ballerina.10Drosselmeyer and his Nephew finishtheir preparations for the party. Alone,Drosselmeyer clutches the Nutcrackerand remembers how his Nephew cameto be cursed by the dreaded sevenheadedRat King. Will tonight be thenight the curse is broken?The party is under way, and the guestsexchange gifts, trim the tree and dance.Drosselmeyer's magic tricks delight thechildren, but he has even bigger mysteriesin store for Marie. He introduces herto his Nephew, and as Drosselmeyer hadhoped, Marie sees through the Nephew'saffliction to the goodness within him.Next he gives her the Nutcracker, which she adores. The party concludes with Drosselmeyer'smagical pièce-de-résistance, a trick which upsets Marie so much that she runs upstairs. Theguests 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. Asmidnight approaches, Marie steals downstairs to find her beloved Nutcracker. But Marie is notalone; mice and human-sized rats threatenher from every side. Overcome with fright,she faints. When she comes to, she findsherself and the whole house under a spell.Everything is growing, even Nutcracker, whobecomes life-sized. The mice and rats returnto terrify Marie, but Nutcracker rallies the toysoldiers and storybook characters to rescueMarie.As the battle reaches its peak, Marie's compassionfor the Nutcracker ensures victoryover the King of the Rats, and Nutcracker isTop: Stephen Hadala as Drosselmeyer and students of PBTSchool, 2011. Right: Cooper Verona as the Rat King andChristopher Budzynski as the Nutcracker, 2012. Photos byRich Sofranko.

transformed into a handsome Prince. He invitesMarie on a journey through the glitteringsnowy forest to the Land of Enchantment.Guided by the Snow King and Queen, theyset off on a magical sleigh ride.Act IIDrosselmeyer prepares the way for the arrivalof Marie and the Prince in the Land of Enchantmentwhere the Sugar Plum Fairy, thevision of Marie's dreams, and her Cavaliergreet the travelers. The Prince relates thetale of the battle, telling how Marie saved hislife by helping to defeat the Rat King. In gratitude,the Sugar Plum Fairy presents Mariewith 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 visitto the Land of Enchantment culminates with a Grand Pas de Deux danced by the Sugar Plum Fairyand her Cavalier.Suddenly, Christmas Day dawns on the street outside the Stahlbaum home. Drosselmeyer and hisNephew 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 thefantastic nature of the night's events. Was it all adream? She finds her beautiful scarf, a souvenirof her visit to the Land of Enchantment. Can itbe? She rushes to the mirror and there, everfaithful, is her Nutcracker Prince.(An elementary level version of the synopsis canbe found on page 47 of this resource guide).Top: Julia Erickson and Robert Moore as the Snow Queen andKing, 2011. Left: Christine Schwaner as Marie, 2012. Both photosfeature artists of Pittsburgh Ballet Theatre and PBT School.Photos by Rich Sofranko.11The Pittsburgh ConnectionArtistic Director Terrence Orr added numerous Pittsburgh elements to the ballet to make TheNutcracker a uniquely local experience. Connect your students with the city’s history and discussthese elements in class prior to your visit to the Benedum. Watch closely for these elements duringthe ballet. Review the list with the class after the performance—how many do they remember?The ClockAt the top of the proscenium (the arch between the stage and the audience) is a large clock with theNutcracker’s face at the center. This clock was inspired by the famous Kaufmann's Clock on thecorner of Kaufmann's Department Store at the intersection of Fifth Avenue and Smithfield Street indowntown Pittsburgh. Meeting under Kaufmann's clock was a Pittsburgh tradition for many years.

The Opening ShowdropThe first image you see in the ballet is a renderingof the F.W. McKee mansion, a large, stately homethat used to stand on Fifth Avenue in the Shadysidesection of Pittsburgh. McKee was an attorneywhose father founded one of the pioneer glassmanufacturingfirms in Pittsburgh, McKee andBrothers. The McKees also owned a large estate inButler County where Mr. McKee founded the townof West Winfield. When he and his family left thehome on Fifth Avenue, it is thought that it may havepassed down through his sister's family. The home was torn down to make way for apartment buildings.Kaufmann’s Christmas Stories for Boys and GirlsEarly in the 20th century Kaufmann's Department Store commissioned aChristmas storybook, Kaufmann’s Christmas Stories for Boys and Girls.During the planning period for the Pittsburgh production of The Nutcracker,a PBT board member found a copy of this storybook, believed to havebeen published between 1904-1906. Mr. Orr incorporated it into severalscenes: Marie reads the book at the beginning of the ballet; it appearsunder the Christmas tree with the other gifts at the party; the storybookgrows as the whole room becomes larger than life; Drosselmeyer "turnsthe pages" as the magical story unfolds. In the battle scene many of thecharacters who rally to help the Nutcracker literally come out of the book.The Party GuestsAlthough the Stahlbaum family name is taken directly from the E.T.A. Hoffmann tale, Mr. Orr wantedto invite some Pittsburgh guests to the party. Significant families in Pittsburgh history are representedby Mr. and Mrs. Kaufmann, Mr. and Mrs. Heinz, and Mr. and Mrs. Grandview (named for theavenue on Mt. Washington). With his kilt and traditional Scottish dance, Mr. McTavish representsthe famous Scottish Pittsburgher, Andrew Carnegie.The Journey through the Snowy ForestOne of the most beautiful vistas in Western Pennsylvaniais the view from Mt. Washington on what is nowGrandview Avenue. Looking down on the Point andthe downtown area, you can see the three rivers andmany of the bridges that cross them. The backdropbehind the snow scene is an artistic rendering of thisvista. It is pictured as it might have looked at the timein which the ballet is set, around the turn of the 20 thcentury.Artwork for both showdrops on this page by designer Zack Brown.12

The ChoreographyWhile 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 inthe movements your students see on stage.Marie and the NephewIn 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 believablecharacters in the roles. He created more advanced, complexchoreography for them than is present in many other productions,and developed a romantic relationship between the two.DrosselmeyerDrosselmeyer traditionally sets the stage for events in the story and createsvisual magic to delight the audience. In PBT’s version, he also drives thestoryline. Mr. Orr gave the character substantial dance choreography—notalways the case in other ballet versions—including a pas de trois (dance forthree) with Marie and the Prince.The Party Scene and BattleThese scenes offer challenges to a choreographer. Watch forthese elements in the ballet to see how they are handledchoreographically:a very large cast on stage all at once covering a wide rangeof ages and levels of choreographic accomplishmentmany young childrencostumes that may limit movementanimals and toys whose choreography should reflect theircharactersRingmaster with ClownsThis scene is a showcase for young dancers. Filled with whimsyand acrobatic movements, it’s a lively take on the carousel themein Act II.Top: Alexandra Kochis and Christopher Budzynski, 2011. Stephen Hadala asDrosselmeyer, 2012; photo by Aimee DiAndrea. The battle scene, with students ofPittsburgh Ballet Theatre School, 2010. PBT Company artists and students in thesnow scene, 2012. PBT students as the clowns, 2011. All photos by Rich Sofrankounless otherwise noted.Snow SceneMr. Orr took his inspiration for the snow scene from a realsnow scene at his former country home in Connecticut.Looking out on the snow-covered hills from his deck hewould watch how the wind swirled the snowflakes, alwaysin circular patterns. Watch for the circles in shapes andsteps in the choreography here.13

DivertissementsDivertissement (literally, a diversion) refers to a complete dance, for one or more dancers, that isusually part of a larger ballet. (A variation is a solo dance.) All Nutcracker productions traditionallyhave four divertissements in Act II that highlight traditional dress, music, and dance steps fromother lands.Spanish – graceful port de bras (movement of the arms) of classicalSpanish dance, quick turning or snapping of the head at the end of amusical phrase.Chinese – traditional Chinese ribbon dance; dancers hold ribbons onsticks that they twirl and ripple. A Chinese dragon, a symbol of powerand royalty, is carried by six dancers as it undulates overhead. Traditionally,the eyes of the dragon are blank. Before the first performance in2002, a ceremony was held in which the dragon’s eyes were coloredwith red ink, which is thought to “awaken” the dragon and bringprosperity to the community.Arabian – exotic weaving of arms and legs; slithering snake-like partneringand distinct Arabian angular poses of the head and arms.Russian – inspired by the Trepak, a traditional Ukranian folk danceknown 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.14

Signature Steps—Pirouetteand BalancéThe choreography of The Nutcracker is packed with challenging steps and technique. Watch forpirouettes and balancés throughout the ballet.PIROUETTEOne of the most familiar ballet terms, pirouette literally means to "whirl.” It is a controlled turn onone leg, with the non-supporting leg turning out or inward toward the supporting leg. The turnusually 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-supportingleg can be held in various positions. Pirouettes can be done as a single turn or in multiple rotations.Turning technique includes spotting, in which a dancer executes a periodic, rapid rotation of thehead that serves to fix the dancer's gaze on a single spot. The pirouette can take many differentforms.Snow Queen and King Pas de DeuxAt the end of Act I, the Snow King and Queen dance with the Snowflakes inthe forest. The Snowflakes perform a series of pirouettes enchaînement (ina “chain” or linked sequence). The mass of simultaneous pirouettes createsa beautiful, glittery blizzard effect on stage.Arabian DanceIn Act II, Marie and the Prince are entertained by exotic Arabian dancers.Watch for the finger pirouette in this dance: the male partner twirls andsupports 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 legturning out, away from the supporting leg, and the turn is executed outward.The Sugar Plum Pas de DeuxAlso in Act II, the Sugarplum Fairy and Sugar Plum Cavalier perform a pasde deux to the ballet’s most famous music, Dance of the Sugar Plum Fairy.Notice the several supported pirouettes, where the Cavalier balances andtwirls his partner. The Sugar Plum Fairy performs a series of dazzlingpirouettes enchainement, a triumphant sequence for only the most expert ofballerinas.The Snow Queen (AmandaCochrane) completes a pirouette,2012, photo by Aimee DiAndrea.Danielle Downey, Kaori Ogasawara, Nurlan Abougaliev and PBT artists, 2007. Photo by Rich Sofranko.15BALANCÉBalancé is a rocking step that is usuallyexecuted in three counts. The dancer shiftsher weight from one foot to the other in a“down up down” sequence to 3/4 time. Thestep begins in fifth position plié. Before thefirst count, one foot extends in a degagé(slightly lifted off the floor) usually to secondposition. The foot may cross in front or inback. Balancé is also sometimes called the“waltzing step.” Watch for the balancé stepin the party dances, the “Waltz of theSnowflakes” and the “Waltz of the Flowers.”

The CostumesBuilding costumes for a new ballet production involves inspiration, research, and technical decisionsabout construction. Zack Brown, Scenic and Costume Designer, and Janet Marie Groom, PBT'sCostumier, share information about their work on the production.ZACK BROWNDesign, fabric, and construction are the important elements. Dance clothes are difficult. Launderingis a major factor because more than one person usually wears each costume, and physical exertionof dance produces much perspiration. These two factors mean that costumes must often bewashed or cleaned. It also makes them deteriorate, then they have to be replaced. Re-makes aredone all the time.Artistic Director Terrence Orr gave me parameters that helped focus my ideas. The size of thebudget also has a big influence on decisions. Some of the guidelines that were helpful in mydecisions were:1. “Chinese” costumes should be red and yellow. They should also have some representation ofthe sun.2. 2.“Arabian” should include a scarf or veil for the woman. There can be nothing abrasive on thecostume because the man does not wear a shirt, and there is so much body contact betweenthe 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 thecostumes. Using historical research, my own imagination and talent, conversations with TerrenceOrr, and the inspiration of the music with its rich orchestral colors and sweeping melodies, I wasable to design the vibrant, colorful, sumptuous costumes you will see.JANET MARIE GROOMCostumes are “built” not made. The reason we say theyare “built” is because more is involved than just cutting outa pattern and sewing seams. Fabrics sometimes must bedyed to get just the right shade and to make sure that thevarious fabric colors match or coordinate perfectly. Sequinsand jewels must be sewn on by hand. Sometimes they alsohave to be dyed to match the fabric. Many layers of tullehave to be cut to make the tutu skirts. The edges are notusually straight but scalloped or pointed. These are all cutby hand. All of these things must be done with themovement 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 costumeshop. The rest were built at shops in New York andWashington, D.C.Each costume is often made of many pieces that have to be carefully stored. The following descriptionsare 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.16

Gabrielle Thurlow, photo by Aimee DiAndrea, 2012.Toy Soldier White pants have gold stripes down the sides. Suspendersthat are not seen have a row of buttonholes to allow for adjustmenton dancers of different heights. Boot tops are attached to the shoes or to a toe sock that goesinside the shoe. Elaborate sleeves with hand sewn welts and large white cuffsare attached to a t-shirt that fastens in the front and is worn underthe jacket. Buttons are sewn on the jacket, but the chains are attachedbehind the buttons with elastic.The wide belt attaches on the side. The hat is held on by a chin strap. Some of the hats areattached to a mask-like face.SnowflakeMore Nutcracker designs by Zack Brown Skirt is separate from the bodice and attached together withbutton tapes that allow for height adjustment. Snowflakes, elaborately decorated with hand sewn sequins ofseveral kinds, are attached to the bodice. Four layers of fabric make up the skirt: white tulle on top, bluesparkle tulle, white with silver sparkles, white tulle with whiteflocked hearts. All the hems of all the tulle layers are cut in points. There aremore than 20 snowflake costumes with a total of 10,580 points,and all of them were cut by hand by one person.The Rat King Arabian The Nutcracker17

The complexity of staging a big production such as PBT's The Nutcracker can be an amazingtechnical feat! Many things are hidden from view so the audience sees only seamless transitionsfrom one scene to another, flawless and magical. The massive sets and complicated devices usedto achieve the delightful visions are sometimes anything but seamless and flawless. Learn thesecrets of some of the mechanical and scientific elements of scenery and lighting used to createthe enchantment and wonder of The Nutcracker.Act I – The Stahlbaum HomeAct I begins with the bustling arrival of party guests on the sidewalk in front of the Stahlbaumhome. The picture of the home is painted on a scrim, which is a large piece of sheer fabric hungfrom a pole high above the stage. When the light projects on the scrim from the front, it is opaqueand you see what is painted on the scrim. However, when an object behind the scrim is lit, thescrim seems to disappear and that object is seen. Watch at the beginning of Act I when Marie’sbedroom appears and the house exterior vanishes—a great example of how a scrim and lightingwork together.Act II – The Carousel CanopyKnown affectionately by the stagehands as "The Squid," thisoctopus-like mechanical monster operates in a mannersimilar to an umbrella. With an umbrella one pushes themechanism upward, sliding it along the center pole forcingthe spokes to open the cover. Then, it’s pulled downwardalong the pole to close it. (If possible, demonstrate this inclass with an umbrella.)Photo by Rich Sofranko, 2012.Scenic DesignHere’s the idea! On the left is a normal view of an umbrella. You push upwardto open. The inverted umbrella on the right is how the Nutcracker carouselworks—it’s as if the wind has blown your umbrella inside-out. Themechanism pushes downward to open and expand the carousel.Dancing as a profession is a lifelong pursuit, beginning early(sometimes as young as age two) and continuing through manyyears of rigorous training. Especially during their school years,dancers’ lives are very scheduled! In many ways, however, theyare just like everybody else. Learn more about the lives ofPBT’s dancers on our website.Getting to Know PBT’s DancersPBT Company dancers, 2012. Photo by Aimee DiAndrea18

The Benedum CenterThe Benedum Center for the Performing Arts is the crownjewel of the Pittsburgh Cultural Trust and the CulturalDistrict in downtown Pittsburgh. It was renovated in 1987and 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 thethird largest stage in the United States measuring 144feet wide by 78 feet deep. The Pittsburgh Ballet Theatre,Pittsburgh Opera, and Pittsburgh Civic Light Opera alluse the Benedum for their performances.Learn more about the Benedum Center. Investigate the Stanley Theatre’s role in music historyhere in Pittsburgh.AccessibilityPBT is committed to being an inclusive arts organization that serves everyone in the greater Pittsburghcommunity through its productions and programs.In conjunction with the Benedum Center for Performing Arts, the following accessibility servicesare provided to patrons:Wheelchair accessibilityBraille and large print programsAssistive listening devicesAudio recordings of select program notesSign Language Interpretation/Closed Captioning provided by special request only. Contact theEducation Department (see contact information below) at least 2 weeks in advance. Pleasenote that this service is available only for ballets with music that has lyrics (this year, Nine SinatraSongs (October) and Smoke ‘n Roses (March).Audio-described performances (Sunday, December 8, 2013 at 4:30PM for The Nutcracker).Autism-Friendly performance of The Nutcracker, Friday, December 27, 2013 at 2:00PM. Formore information on this special performance please visit our website.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 ouraccessibility services, please do not hesitate to contact Alyssa Herzog Melby, Director of Educationand Community Engagement, at 412-454-9105 or amelby@pittsburghballet.org.For more information about the accessibility services at the Benedum Center for the PerformingArts, please visit their accessibility page.19

A Nutcracker Word SearchE G T H N T X X P S R W N Q KC C R C E E V P N R E P U D PG D N L H T P O F N Y R T S YV N L A U A W H E O E E C C HW A I T D Q I C E B M I R A HB J U K U N J K H W L D A R SA R W E T X A A O H E L C F KH B E Z F A J I P V S O K A CW N R I U B R L B D S S E F ML E S U O R A C L A O K R R GB A T T L E T W E S R S Y D EO X T B G E H T O L D A W S NM T W A S H I N G T O N C R KN C R N Y V X Z Q W O U B G UY R I A F M U L P R A G U S KFind the hidden words!Arabian DanceBalletBattleCarouselDrosselmeyerMt. WashingtonNephewNutcrackerRat KingScarfSnow QueenSoldierSugar Plum FairyTchaikovskyTutu(answer key on last page)20

1 2 34 5 67 8 910 11 1222

Kaufmann’s Christmas Book ActivityInvestigate this image from the cover of Kaufmann’s Christmas stories book from 1906. Santa’sworkshop 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 ▪ Feather23

Nutcracker Map ActivityPBT’s The Nutcracker takes place in Pittsburgh! Mark the approximate locations of the story’s landmarksand scenes on the map on the next page.The Stahlbaum Family HomeThe Kaufmann Department StoreAmusement Park and CarouselAt the corner of Fifth Avenue and S. Highland AvenueDowntown on Fifth Ave. (the cross street, Smithfield,isn’t marked on this map)Kennywood ParkThe Snow SceneMt. WashingtonMap The Nutcracker Journey!In the ballet, Marie and the Prince magically travel from Marie’s home to the Land of Enchantmentand back. In the real world, though, they would have to take streets to get there! Help them find theirway 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 wouldhave 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 Kingand Queen (and the Snowflakes) present a beautiful dance.2. Marie and the Prince travel from Mt. Washington to the Land of Enchantment (KennywoodPark).3. Marie travels from the Land of Enchantment back to the Stahlbaum home where she wakes upthe next morning.Spot Other Landmarks! See if you can find these landmarks. (Warning! The writing on this mapcan be very small!)The PointGlenwood BridgeA city boundary lineAn incline (count how many there are!)The South Hills Tunnel (now Fort Pitt Tunnel)Boroughs of Swissvale and FineviewLiberty Ave.Craig St.DowntownTEACHERS’ NOTE: If there is access to a computer or smart board, viewing the map may be alittle clearer here.24

25Map Credit: Pittsburgh, PA and VicinityStreet and Interurban Railway Trackage,1859-1959. Historic PittsburghCollection, University of Pittsburgh DigitalLibrary:

Marie NephewRat King Snow QueenStick Puppet Templates for The NutcrackerCut out and paste onto cardboard or foam core. Glue each puppet topopsicle sticks and create your own Nutcracker ballet!NutcrackerCavalierDrosselmeyerSugarplum Fairy26

Nutcracker Listening GuideThis listening guide provides an in-depth look at the music of The Nutcracker. The guide follows themusic provided on the Teacher Resource Guide CD. See the glossary on page 32 for terms in bold.Track 1. Beginning of Act I — OpeningAs Marie reads her book and plays with her Christmas presents, the music begins with a soaringmelody in the strings which is joined by the orchestra (Excerpt 1). The melody halts at (1:17) andfeatures a playful clarinet that is joined by the other woodwinds, forming a canon (Excerpt 2). Thesweeping melody returns in brisk tempo. Dexterous runs in the woodwinds build up excitement untilan unresolved final chord leaves the listener hanging. Amidst the Christmas bustle, the musicchanges into an eager staccato 6/8 time signature at (3:12), then falls into quiet string tremoloswith prominent harp and solo English horn. The opening ends with three pizzicato chords in thestrings.Excerpt 1Excerpt 2March (4:03)In the Stahlbaums’ home with all the guests gathered around the tree, a stately march opens with acall in the winds and response in the strings. The theme repeats with varying orchestral colors andends 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). Themarch returns with glorious sweeping runs in the strings, then the melody finally resolves upwardsfor 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 timesignature (7:28), shown in Excerpt 2. Suddenly, with a switch to a kilted dance, the orchestra plays aplayful, 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.27

Excerpt 1Excerpt 2Excerpt 3Scene Dansante (9:31)After a mysterious interlude of the low strings and brass upon the entrance of Drosselmeyer, thetempo accelerandos from (10:25) into a delicate staccato melody (Excerpt 1) as Drosselmeyershows off his magic tricks. The orchestra crescendos to a staccato note, followed by a briefpassage 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 aminor key. The music moves into a quick 3/4 passage felt in one large beat (12:40), with abouncing melody in the clarinet (Excerpt 3). Tchaikovsky moves directly into a flowing, peacefulwaltz of the puppets (13:19), shown in Excerpt 4, ending on a pizzicato note in the strings. Themusic continues expressively until gently transitioning into a presto (15:02). The orchestracrescendos forebodingly with a melodic line in the lower strings (Excerpt 5) at the dance of the toypirate, and builds in intense quick sixteenth notes leading up to a giant sff tutti chord.Excerpt 1Excerpt 2Excerpt 328

Excerpt 4Excerpt 5Track 2. The BattleThe Mouse King’s imminent attack is announced by the tension-filled tremolos and theme in theoboe. With a momentary pause after the oboe completes its phrase, a gunshot introduces theNutcracker’s soldiers. The oboe’s previous theme is taken up by the bassoon while the upper woodwindsprovide march-like melodies. The battle itself begins with drumrolls, and military woodwindstake the role of the Nutcracker’s soldiers while the ominous brass mimic the rats. The themes calland 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 Mouse King,and the orchestra’s wild sixteenth-note runs wind down.Track 3. Waltz of the SnowflakesIn the snowy forest, the delicate snowflakes’ waltz begins with whimsical flute flutters and pizzicatostrings (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 andMarie (Excerpt 2). With the incorporation of the triangle and harp, the music leads to an intense andpassionate phrase, ending with harp glissandos and a tutti fortissimo chord.Excerpt 1Excerpt 229

Track 4. Spanish DanceIn the Spanish dancers’ number within a beautiful artistic interpretation of an amusement park, agrand trumpet theme (Excerpt 1) is joined by the woodwinds with grand flourishes. Befitting of thetraditional Spanish costumes, castanets enter to accompany a waltzing orchestral melody (Excerpt2); and a solo line in the clarinet leads up to the tutti crescendo, accelerando, and climax of thenumber.Excerpt 1Excerpt 2Track 5. Arabian DanceThe stage darkens for the entrance of the gypsy-like Arabian dancers. The quiet, exotic flavor of theclarinets in minor mode sets the mood for the slow, sensual movement of the dance, withuntraditional lifts and continuous snake-like movements. The Middle-Eastern flavor is enhanced bythe solo oboe and English horn as the upper strings continue their quiet melody and the lowerstrings maintain constant sixteenths. The music fades out as mysteriously as it began.Track 6. Chinese DanceWith staccato bassoon notes then pizzicato strings, the flutes dominate the texture of the ChineseDance with a light, fluttering melody. To fit the streamers, brightly colored costumes, a Chinesedragon, and flamboyant dancing, the clarinets begin nimble arpeggios and all the voices playindependently to the end of this brief number.30

Track 7. Russian DanceThe Russian Dance, representing Tchaikovsky’s native country, demonstrates the grandness andintensity of Russian music through both the music and the costume designs. Also referred to asTrepak, this number was inspired by a traditional Ukrainian folk dance. The energized music andgymnastic dancing never slows, and the sixteenth-note patterns in the strings build andaccelerando to a climactic end.Track 8. ShepherdessesWith a lack of melodic tension, the feminine dance of the Shepherdesses features delicate woodwindsand pizzicato strings (Excerpt 1), along with pastel dresses and twirling dancing. The brassenter for a minor-mode section as the sheep dance around (Excerpt 2), then the music windsdown to a da capo section. The number ends suddenly with a cymbal crash.Excerpt 1Excerpt 2Track 9. Ringmaster and ClownsJoyful march-like music with the tambourine begins as the children enter in various styles ofcolorful 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 magnificentconclusion.Excerpt 1Excerpt 231

Track 10. Dance of the Sugar Plum FairyThe delicate dance of the Sugar Plum Fairy, in her sparkling tutu and tiara, features the celesta—the only instrument Tchaikovsky felt was worthy of her character. The music accompanies her gingermovements perfectly, with solo woodwinds adding to the celesta’s unique tone and musical color.The dancing accelerates along with the music, and the Sugar Plum Fairy twirls rapidly until atutti chord ends the number.Glossary of Musical TermsAccelerando—to speed upArpeggio—a series of notes spelling a chordBrass instruments—metal wind instruments,including: trumpet, trombone, euphonium, andtubaCanon—multiple simultaneous imitations of themelody beginning on different beatsCantabile—in a singing styleChord—a set of three or more notes played togetherCrescendo—to grow louderDa capo—a return to the beginning sectionFermata—an orchestral note or rest held out oftimeFortissimo—very loudGlissando—a continuous slide between twonotesMelody—a musical line or statement comprisinga series of notesMinor—a musical mode that sounds serious orsad, as opposed to major modePercussion—non-wind instruments, including:celesta, timpani, snare drum, cymbals, bassdrum, triangle, tambourine, castanets, tam-tam,and glockenspielPizzicato—played with plucked stringsPresto—very quickSff (Sforzando)—very loud and accentedSixteenth notes—quick notes; four sixteenthsper beatStaccato—short articulationStrings—wooden instruments with strings,played by bowing or plucking, including: violins,violas, celli, and double bassTempo—pace of the musicTheme—a brief melody which forms the basis ofa passageTime signature—an indication of rhythm andbeat; 3/4 is felt in three beats, 4/4 in four beats,6/8 in two beats that are each divided into threesmaller beatsTremolo—a wavering effect produced by quicklyalternating between two notesTutti—all playing togetherWinds—woodwinds and brassWoodwinds—wind instruments, most of themmade of wood, including: clarinet, oboe, flute,bassoon, French horn, bass clarinet, and Englishhorn32

Entry Pointes“Entry Pointes” are questions, topics, and areas of focus for educators to use and make connectionsbetween their curriculum and the ballet. We strive to make meaningful connections in each contentarea of the Pennsylvania Academic Standards and provide numerous entry pointes for a multitudeof different learners at all levels. Educators are encouraged to expand and adapt the entry pointesas 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. Common Core suggestions are included in some Entry Pointes, and Common Core –appropriateEntry Pointes are listed by the following symbol: Ͼ Most of the information presented in the guide falls within an 8th-10th grade reading levelaccording to the Lexile® Framework for Reading. A chart with measures is listed on page 46.Forelementary teachers, we have supplied you with a more developmentally-appropriate version ofthe production’s synopsis (page 47) in order to help you as you prepare your students for theproduction and embark upon the Entry Pointes listed in this teacher resource guide.Reading, Writing, Speaking, and Listening………………………………………...……34(PDE Academic Standards 1.1-1.9)Mathematics (PDE Academic Standards 2.1-2.11)…………………………………...…36Science and Technology and Engineering (PDE Academic Standards 3.1-3.4)…..38Environment and Ecology (PDE Academic Standards 4.1-4.5)……………………....39Civics and Government (PDE Academic Standards 5.1-5.4)……………………….... 40Economics (PDE Academic Standards 6.1-6.5)…………………………………..……. 40Geography (PDE Academic Standards 7.1-7.4)………………………………………….41History (PDE Academic Standards 8.1-8.4)………………………………………………41Arts and Humanities (PDE Academic Standards 9.1-9.4)…………………………….. 42Heath, Safety and Physical Education (PDE Academic Standards 10.1-10.5)……. 44Family and Consumer Sciences (PDE Academic Standards 11.1-11.4)…………….45World Languages (PDE Academic Standards 12.1-12.6)………………………………45Career Education (PDE Academic Standards 13.1-13.4)………………………………45Business and Computer IT (PDE Academic Standards 15:1-15:9)…………………..46Student Interpersonal Skills (PDE Academic Standards 16:1-16:3)…………………46Lexile Reading Measures List …………………………………………………………….. 46Elementary Synopsis ………………………………………………………………………...4733

Entry PointesReading, Writing, Speaking, and Listening (PDE Academic Standards 1.1-1.9)Ͼ 1. Read E.T.A. Hoffman’s story, The Nutcracker and the Mouse King, written in 1816, and thesynopsis of Terrence Orr’s version of The Nutcracker ballet found in this resource guide. Compareand contrast the two story versions, including characters, events, setting, and themes. (MS, HS)Ͼ 2. Read the synopsis of The Nutcracker and develop a list of inferred character traits for variouscharacters, including Marie, the Nephew, Drosselmeyer, and the Sugar Plum Fairy using evidencefrom 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 withwrinkles, 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 inthe Life” journal entry for one or more characters. (MS, HS)Ͼ 3. Analyze various covers of The Nutcracker storybooks. What symbols, myths, and other informationdo the covers provide? Decide what elements are the best marketing tools for the story anddesign your own cover. (ES, MS4. Analyze the cover of Kaufmann’s Christmas Stories for Boys and Girls the Kaufmann storybookincluded in this resource guide on page 23. What symbols, myths, and information does the coverprovide? What is unexpected about the cover? Write your own short holiday story set in Pittsburghto include in the Kaufmann book. (ES, MS5. Some versions of The Nutcracker have Marie waking up on Christmas morning and wondering ifher 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 ordraw a detailed storyboard (if possible using a digital technology tool) for a main character that findsthemselves in a fantasy world and then returns home at the end. Share stories amongst studentsand keep a list of the different ways the characters go to and from the fantasy lands and how manycharacters believe their fantasy trip was real, unreal, or uncertain. (MS, HS)Ͼ 6. Read a storybook version of The Nutcracker. In small groups draw pictures or write a recount ofthree important scenes from the story. As a whole class put the pictures together on a wall to createa story line. What events are most represented on the story line? What events from the story aremissing? (ES)Ͼ 7. Using evidence from the text and ballet to support your word and language choices, write a formalthank you note from one of the following character’s perspective:Marie thanking her father for her scarfThe Nutcracker thanking Marie for her help in defeating the Rat KingA party guest thanking the Stahlbaum’s for their Christmas Eve party34

8. European nursery rhymes and fairy tales are full of references to raising sheep just like theShepherdess scene in The Nutcracker. Read, recite, sing, and/or dramatically pantomime or actthese pieces of literature, including “Baa Baa Black Sheep,” “Mary Had a Little Lamb,” “The BoyWho Cried Wolf,” etc. (ES, MS)Ͼ 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 thisproduction to pay tribute to the two dozen amusement parks that once entertained families inPittsburgh region. Currently three carousels remain in our area: two historic carousels at Kennywoodand Idylwild, and a modern carousel (based on a 1913 carousel) at Schenley Plaza. Reviewa list of carousel characters from the carousel at Schenley Plaza. Design your own theme fora carousel, creating a complete list of characters and drawing one or more characters. Write abrief explanation of what theme you chose and why. Research the history and cultural importanceof carousel to write an informative essay (ES, MS, HS)Ͼ 10. The Sugar Plum Fairy thanks Marie for helping the Nutcracker defeat the Rat King by presentingher with a grand celebration of dance. If the Sugar Plum Fairy could speak, what wouldshe say? Write a speech for the Sugar Plum Fairy that expresses her gratitude for Marie’s helpusing 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 storybookversion of The Nutcracker and chart the similarities and differences between the storybook andPBT’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. Experiencethis mutability by orally retelling the story of The Nutcracker--without notes--to a friend. Journalabout 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)Ͼ 13. Write a short story that shares a similar structure to The Nutcracker. Include the followingelements: a party, guest, a very special guest, a magical gift, and a moment when everythingchanges. Share stories and peer review looking at similarities and differences with The Nutcrackerstory. (ES, MS, HS)Ͼ 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 theobject? How would your object relate to other object and move together (or not) with them? Writea 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)Ͼ 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. Askquestions about the topic, find the answers to the questions for an answer key, then share treasurehunts with other groups to complete. Ask students to keep track of keyword search and thewebsites utilized. After groups have completed each others’ treasure hunts, discuss how informationwas acquired, what keywords were most successful and why, tips for doing online researchthey discovered, and ways to determine the quality of a website. (MS, HS)35

Ͼ 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 whythis book should or should not be read by others in a persuasive manner using evidence from thetext. (ES, MS, HS)Ͼ 18. The ladies at the Stahlbaum party use fans as both an accessory and for communicating toothers. Research the language of fan-holding and the art of fans, and write a paper about its culturalsignificance. 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)Mathematics (PDE Academic Standards 2.1-2.11)Ͼ 1. Stage lighting for productions uses a lot of energy! Answer the following math problems aboutstage lighting. Based on the units below, write your own word problems! (MS, HS)1. Each “unit” of stage lighting might average 800 watts. If the average household light bulb uses75 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)2. 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)3. Check the program or online at www.pbt.org for the total number of performances of TheNutcracker. Calculate the total amount of wattage used for The Nutcracker. (In 2013, there are22 performances = 10,120,0004. Now calculate the number of household bulbs it would take to equal all the wattage usedthroughout the production run of The Nutcracker! Round your answer to the nearest wholenumber. (134,933)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 thattoy 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 eachwebsite. Calculate the difference of prices and what the sales tax would be if for each price if youbought 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 utilizedthe coupon. (MS, 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 toyswould have cost in 1913 (the first year available) on the following website: http://data.bls.gov/cgibin/cpicalc.pl.Calculate the rate of inflation from 1913 to 2011. (ES, MS)4. The Czar in Russia during the decade after The Nutcracker premiered was Czar Nicholas II. Atthe end of a performance on the Czar Nicholas’ name day, December 6th, student dancers wouldbe lined up by size and presented to the czar. The czar would then give them each a chocolate ina 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 awardeda special treat??? (ES, MS)36

5. Choreographers utilize a variety of shapes and line patterns when creating dances that dependupon 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, orpentagonal. 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 recordwhen they are used in the production and how or why that pattern or shape is being used. Somescenes 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 forinteresting shapes and patterns as you watch the performances. Afterwards, try to draw frommemory the costumes you remember and name the shapes that occur in it. (ES, MS)7. Explore transformational geometry through various poses of The Nutcracker. Brainstormscenes 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 thatoriginal pose. Everyone in the class can participate at once to create a corps of dancing geometricfigures. Perform and record the pieces with digital technology and have students reflect ontheir creations. (ES, MS)8. Explore transformational geometry through various scenes of The Nutcracker. In small groups,students create tableauxs that satisfy the various requirements for the scenes. Perform and recordthe 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 reflectionsand one translation in your tableau.-Freeze at the moment Marie receives the Nutcracker from Uncle Drosselmeyer. There must betwo 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 onetranslation in your tableau.-Freeze during a moment from the Ringmaster and Circus scene. There must be three of one ofthe 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 legto the position of dancers to one another on stage. In small groups create a series of tableau thatsatisfies each requirement. Perform and record the pieces with digital technology and have studentsreflect on their creations. (MS, HS)-Freeze during a moment from the party scene where the children are one side and the adults areon the other side. The two sides should be positioned at an acute angle towards one another everyoneshould 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 partat an acute angle. Two participants should be placed at an obtuse angle of one another.-Freeze at the moment the Sugar Plum Fairy arrives in the Land of Enchantment to greet Marieand the Nutcracker. Create the scene at a right angle. Every participant should have both an obtuseand acute angle in their body position.Ͼ 10. Choreography is filled to the brim with mathematical concepts. During the performance trackthe various mathematical concepts you see at work. (ES, MS, HS)37

11. The children at the party play a hand-clapping game. In partners, develop your own handclappinggame with an established rhythm and pattern. Try patterns of different length (3 claps, 4claps, 6 claps, etc.) or work on patterns that include multiples (2, 4, 6, 8 or 3, 6, 9) etc. (ES, MS)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 Nutcrackersand various nuts (almonds, walnuts, hazelnuts, etc.) (MS, HS)2. Take apart a mechanical toy and investigate its inner workings. What physical forces, conceptsof 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 theirrespective inventions. (MS, HS)4. Snowflakes appear in the “Journey to the Snowy Forest” scene. Research and investigate howsnowflakes 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 doesgeography, 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 aswell as yellow-and-black bumble bees. Investigate the relationship between colorful flowers andbees. (ES, MS)6. Research various kinds of bees and “bee colony collapse.” Explain why colony collapse is happeningand what are the future consequences. Imagine and write a short essay on what the worldwould be like without bees. (MS, HS)7. Lighting for a production of The Nutcracker uses a range of colors, saturations, and intensity toachieve the various settings and dream-like quality of the production. Using scraps of different coloredcellophane and a flashlight and/or a lamp, experiment with the different color combinationsand intensity of light (concentrated or diffused) you can create. What effects and moods might differentcolors have on various scenes? Brainstorm qualities to each color combination and, afterreading 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 stagesof 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 Boysand Girls on page 23. What kinds of technology are shown in Santa’s Workshop? Do we still usethese tools and this technology? What kinds of tools do we use now that wouldn’t have been usedin 1906? (ES, MS)10. Props, or properties, are the small objects handled by the dancers in a production. The propsin The Nutcracker go through quite a beating—sometimes literally—throughout the course of theproduction. Take for instance the giant fork sword used during the fight between the Rat King and38

his mice and the Nutcracker. It has to be able to be handled by the dancers and tossed to theground night after night after night. Choose one prop from the production that you saw. How wasthat prop used in the show (Picked up? Dropped? Etc.)? Engineer and design your own versionof that prop, taking into consideration materials you could use, how the prop is utilized, and keepingcosts as low as possible! (MS, HS)11. In the Ringmaster and circus scene, the clowns build a human pyramid. Explore the geometricand physical nature of the pyramid. How is weight distributed evenly? How are parts connectedand held together? Where are strong and weak points in the pyramid? If possible and with correctsafety measures in place, build your own human pyramid. How do you ensure stability andeven distribution of weight and mass? (ES, MS)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 theseresources transformed from their raw form to a finished Nutcracker doll? What kinds of paints areused to decorate the dolls? How have the materials needed to make a Nutcracker doll changedover time? (MS, HS)2. Investigate the various ecological systems of the countries which Marie and the Nutcracker seedances 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. UsingPennsylvania forests as your ecological system, investigate the habitat of the system. Determinevarious living and non-living entities and categorize the living entities into producer or consumerroles. (ES)4. Costumes for a production like The Nutcracker get dirty quickly from sweat, the “snow,” andmake-up. Research how ballet costumes are laundered. What detergents, if any, are used, andhow much water is consumed? Brainstorm ways that ballet companies could reduce their resourceconsumption (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 complimentthat 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 photosyntheticenergy 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 sustainablewildflower garden for your school. (ES, MS)8. The Shepherdess scene pays homage to our civilization’s root in agrarian culture. Researchhistorical 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 productioncycle from farm to home for both lamb meat and wool? (MS, HS)39

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 UnitedStates? (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 theUnited 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 differfrom 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 whatcountries have similar features, such as a Bill of Rights, Declaration of Independence, democraticruling body, Constitution, etc. (ES, MS)4. Investigate the system of government in Imperial Russia at the time that The Nutcracker wascreated (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, includingopposition? Compare and contrast with the United States’ system of government. Dividethe students into two groups, having one group act as the Czar and his court and the other groupchoosing 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 criticismfrom proponents of free speech because of its very stringent laws about free speech andmedia access. Find a newspaper article about China and the media. Compare and contrast informationfrom the various articles collected. Synthesize the information to draw conclusions aboutwhy such stringent limits are imposed. (MS, HS)6. The Rat King and his army of mice threaten Marie and the Nutcracker. Investigate the structureof a monarchy, an army, and martial law. (ES, MS, HS)7. Investigate current foreign policies the United States has with the various countries representedin The Nutcracker: Spain, China, Russia, and the countries on the Arabian Peninsula (Saudi Arabia,United Arab Emirates, Kuwait, Bahrain, Yemen, Oman, and Qatar). (HS)Economics (PDE Academic Standards 6.1-6.5)1. Tchaikovsky was fortunate to have an anonymous patron who supported and subsidized hiswork as a composer. Investigate the meaning of a “patron of the arts” and the economic implicationsof arts patrons. Research other famous arts patron/artist relationships from history. Whatbenefits and challenges are faced by the artist in a patron/artist relationship? What negative andpositive 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 economicsof agriculture are anything but pretty. Research and describe agricultural practices (both growingcrops and raising livestock) in the United States with respect to economics, including ideas ofsupply and demand, capital resources, market competition, and government incentives. (ES, MS,HS)40

3. A 100 year-old storybook, Kaufmann’s Christmas Stories for Boys and Girls, plays a prominentrole in Pittsburgh Ballet Theatre’s production of The Nutcracker. Investigate current practices inthe selling and buying of antique books, including ideas of perceived value and how market competitionand the internet have impacted pricing. Additionally, choose a piece of literature from aBritish or American literature class and research how much a first, second, and third edition of theprinted piece of literature would cost today. (HS)4. Investigate multi-national corporations that have established themselves in the United Statesand 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 areestablished in? How have these corporations created economic interdependence between thesecountries? (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 TheNutcracker: Spain, China, Russia, and the countries on the Arabian Peninsula (Saudi Arabia, UnitedArab 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 calledShadyside. Research the settlement patterns of the neighborhoods in the city of Pittsburgh. Whatgroups of people settled into the various neighborhoods? What was their culture and average socioeconomicstatus? How did these cultures and economics affect the architecture and business ofeach neighborhood? (ES, MS, HS)3. In the “Snowy Forest” scene in The Nutcracker, the backdrop is painted from a lookout onMount Washington. Look at maps and pictures of Western Pennsylvania. Describe the topographyof 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 WesternPennsylvania? Discuss how people dress for winter and what they can do--both outdoors and indoors--inthe winter. Draw a picture of how you would dress in the winter and write a brief descriptionof what you would do during the winter. (ES)5. Map a journey from Pittsburgh to the various countries represented in The Nutcracker during1892 when the ballet premiered and today: Spain, China, Russia, and the countries on the ArabianPeninsula (Saudi Arabia, United Arab Emirates, Kuwait, Bahrain, Yemen, Oman, and Qatar). Exploreall the different ways you could travel to each of these countries. (MS, HS)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 historyof 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 carouselswere built, and how many are still in existence today. (ES, MS, HS)41

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 countryin which they have an interest. Research the traditional dress of that country on the internet or inlibrary books. (ES, MS, HS)3. The original Nutcracker was set in 19th century Russia, and Terrence Orr, the choreographerof PBT’s version, set the story in late 19th century Pittsburgh. How would the ballet change if itwere set in another time period or place? Some suggestions to explore would be an early civilizationfrom ancient history, medieval Europe, or the pioneer days of the United States. How wouldthe costumes and sets differ? Using your knowledge of that time period, find what celebrationsand 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.) Whatother Pittsburgh connections do you think should have been included in the production? Howwould you incorporate them into the ballet? (ES, MS, HS)5. The Nutcracker has become a holiday favorite since it first premiered in 1892. Research thehistory 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. McKeewhose father started a large glass-manufacturing firm here in Pittsburgh. Investigate glassmanufacturinghere in Pittsburgh and its impact upon the local economy. (MS, HS)7. This production of The Nutcracker places emphasis upon the ancient curse upon the Nephew,which resulted in his affliction for which he wears an eye-patch, and the Uncle’s attempts to breakit. 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. Drosselmeyeremploys 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, theRingmaster 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 hashad 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 contributionshas Arabian culture made on western civilization? Look into contributions made in literature,art, mathematics (numbers!), medicine, and science. (ES, MS, HS)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 theposter? What should be included in the poster to give all-important information? What can yousay to excite people about the ballet? (MS, HS)42

2. Read the synopsis of The Nutcracker. Divide the class into three groups and assign eachgroup one of the following scenes to plan and paint: Christmas Eve at the home of Dr. and FrauStahlbaum 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 andhave 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, recycledbottles, etc.) for one of the following characters: Marie, the Nutcracker, the Rat King,Drosselmeyer, and the Sugar Plum Fairy. Write a short paragraph describing the various elementsof 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'sdirections for Tchaikovsky's music composition. Listen to the first section of music on theCD and follow along. Discuss the following questions: How does the music fulfill the request ofPetipa? Where in the selection do you think tree is supposed to be lighted? How does the musicgive 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 differentqualities. Listen to each piece on the CD. Create an acrostic poem that describes the music andaction of the scene. Share poems with the class. (ES, MS)6. Tchaikovsky was one of the first composers to use a new (in 1892, that is!) instrumentcalled the celesta (che-LE-sta). In The Nutcracker, it provides the distinctively delicate tinklingnotes in “Dance of the Sugar Plum Fairy.” Taken from the French word for “heavenly,” the celestagives 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 Sugar Plum Fairy.” Describe what the celesta soundslike, what it makes them think of, and how it makes them feel. Research what the instrumentlooks like and is made of. How is sound created by the celesta? What other pieces of music usethe celesta? Listen to selections and compare and contrast with the “Dance of the Sugar PlumFairy.” (ES, MS, HS)9. In Act II of The Nutcracker, the Marie and the Prince arrive at the Land of Enchantment, wherethey are entertained by dancers from different countries. The dances, or divertissements, reflectthe ethnic and national cultures through the costumes, body movements, and dance steps. Insmall groups, choose a country that is of interest to them. Research the traditional dress of thatcountry. Based on the research, create a dance costume inspired by the traditional dress of thatcountry (remember: the dancers have to be able to move!). Include hats, jewelry and make up, ifit is appropriate to the dress of country they chose. Have them label their completed drawing withthe country of origin. (MS, HS)10. Folk dancing provides the foundation for the various divertissements in Act II and is also reflectedin Act I during the party’s “Scottish” dance. Today, folk dancing is thriving right here inPittsburgh! Research various folk dancing groups in existence in the Pittsburgh area. What typeof dancing do they teach? If possible, learn a few steps from the folk dance you are researchingand teach to your classmates. (ES, MS, HS)11. The Nutcracker contains two very famous pas de deuxs: one with the Snow Queen and SnowKing and one with the Sugar Plum Fairy and her Cavalier. Research the form of the pas de deuxand 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)43

12. Review the story sequence of The Nutcracker by creating “frozen pictures” or tableaux in smallgroups. 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 variousparts of the story structure. Also discuss the aesthetic experience of tableaux and how the productionutilized moments of tableaux. (ES, MS, HS)13. 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 inperson,collecting tickets at the door, and finding your seats in the theatre. (ES, MS, HS)14. Explore different rhythms Tchaikovsky uses in The Nutcracker, such as the waltz and themarch. Identify the sections where these and other rhythms are used and then try playing therhythms on instruments or by clapping your hands. Describe qualities of each rhythm. (ES, MS)15. In each of the various “country” dances in Act II, Tchaikovsky tried to use rhythms and instrumentsthat 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 themusic? Research contemporary music being created in these countries and describe instrumentsand rhythms being used. How has music changed in these countries since 1892 and why? (ES,MS, HS)16. 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 musicaleffects in The Nutcracker. What different sound qualities does each instrument have? (ES, MS,HS)17. Mr. Orr, while creating a classical ballet, also makes the production relevant through incorporatingcontemporary dance moves. What dance moves from the 1980s, 1990s, and the 21 st Centurydo you see employed by the dancers? What effects does this have on your experience? Howeffective do you think the mixing of dance genres is in telling the story and your overall experience?(MS, HS)18. Russia has had tremendous influence on the art of ballet, particularly in the last 150 years. Notonly was one of the premier composers for ballet from Russia (Tchaikovsky), but the St. PetersburgImperial Theatre and Ballet Russes have made significant contributions to the art of ballet.Explore Russia’s impact on ballet through companies, choreographers, composers, and individualdancers. Also, investigate how Russian ballet differs in technique and style from French ballet andAmerican ballet. (MS, HS)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 andthe biophysical processes that occur when someone faints. How can you help someone who hasfainted? (MS, HS)2. In 1892 when The Nutcracker premiered, real candles would have been used to illuminate theChristmas tree. What safety hazards does this pose? What precautions could you take if you wereto use real candles? Create a fire escape plan in the event that the candles start a fire. (ES, MS)44

3. Create a 7-day diet for a professional dancer who is dancing in The Nutcracker. In a week, aprofessional dancer would average 5 performances of The Nutcracker and an additional 7.5 hoursof warm-up class on top of that. Take into account their level of physical activity and their nutritionalneeds. (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 productionof The Nutcracker. He draws attention to her becoming an adult, represented by the gifts of ascarf and pointe shoes in Act I. What “coming of age” rituals are in your culture? Research comingof 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 aseating chart for your guests. Consider a theme for the party and investigate where you would buysupplies 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 developmentalcharacteristics are seen in adolescents? (MS, HS)4. The Nutcracker opens on Christmas Eve at a celebration at the Stahlbaum residence. Discussholiday celebrations of the students. What are these celebrations called? What family and friendsare involved and what are their roles during the celebrations? What do they think are unique abouttheir celebrations? (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 similaritiesbetween the alphabets. (ES, MS, HS)3. Analyze the pronunciation of ballet terms in this resource guide. What conclusions can you drawabout 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 thedragon in Chinese culture? Research the character for “dragon” in the Chinese language and learnto write it. (ES, MS)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-timecomposer. 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’sproduction of The Nutcracker, Investigate famous families of Pittsburgh. How did these entrepreneursstart their businesses and make their money? (ES, MS, HS)45

3. A police officer arrives at the Stahlbaum’s party to partake in the festivities. Research the dutiesand career path of a police officer at the turn of the 20 th century and during contemporarytimes. Compare and contrast career paths and expected job duties and skills. (ES, MS, HS)4. Read through two “Getting to Know You” profiles on dancers in our Company. What personalattributes 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 toevery day life? (MS, HS)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 awealthy widow gave him enough financial support that he was able to stop teaching and focussolely on his creative endeavors. If Tchaikovsky were attempting to make a living as a composertoday, how might he do this? What would his funding source be? How is funding for artists differenttoday from the late 1800s? (HS)2. Imagine how in the future technology might be used to enhance performance experience. Describewatching a ballet at the theatre 100 years in the future. Do you believe technology couldever 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 itdiffer from seeing it live? What technologies could you use to enhance viewing it digitally ratherthan in person? How could you replicate an experience aesthetic of textures, sound, lighting, andmovement? (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 onpages 10-11 or page 47 as a guide to retell the story of the Nutcracker using a non-verbal artform 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 oftechniques 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)Lexile Reading Measures ListSection Page Lexile MeasureNutcracker Ballet 5 1120Tchaikovsky bio 7 1070Synopsis 10 1040Pittsburgh Connection 11 1040Choreography 13 1140Signature step 15 1050The Costumes 16 1000Scenic Design 18 1180Elementary synopsis 47 81046

The Nutcracker Elementary SynopsisIt is Christmas Eve in the early 20th century at a home in Shadyside. Godfather Drosselmeyer andhis Nephew unload presents from their cart. The Nephew’s eye patch frightens many of the guestsas 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, ascarf and a pair of ballet shoes. These gifts show how Marie is growing up from a girl to a youngwoman. 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 Nephewwas 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 performsmagic tricks for the children, but he has even bigger plans in store for Marie. He introduces her tohis Nephew. As Drosselmeyer had hoped, Marie sees past the Nephew’s eye patch to the goodnessinside him. Next he gives her the Nutcracker. She immediately adores it. The party ends with onelast 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 ratsthreaten her from every side. She is so frightened that she faints. When she wakes up, she findsherself and the whole house under a spell. Everything is growing, even her Nutcracker, who becomeslife-sized. The mice and rats return to terrify Marie, but Nutcracker rallies the toy soldiersand storybook characters to rescue Marie.As the battle reaches its peak, Marie helps the Nutcracker defeat the Rat King by throwing her shoeat him. Because of her concern for the Nutcracker, the spell is broken. He is transformed into ahandsome Prince. He invites Marie on a journey through the glittering snowy forest to the Land ofEnchantment. 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 Sugar Plum Fairy, the vision Marie sawin her mirror, and her Cavalier greet the travelers. The Prince retells the tale of the battle and howMarie saved his life. The Sugar Plum Fairy presents Marie with a beautiful a tiara as a thank-yougift. 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 visitto the Land of Enchantment ends with a grand duet danced by the Sugar Plum Fairy and herCavalier.Suddenly, Christmas Day dawns on the street outside the Stahlbaum home. Drosselmeyer and hisNephew make their way to their cart. They stop to reflect on the night's magnificent events. Marie'scompassion 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 hervisit to the Land of Enchantment. Can it be? She rushes to the mirror. Staring back at her, everfaithful, is her Nutcracker Prince.47

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