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The Evolution of “The Nutcracker and the Mouse-King”
Today, many often associate “The Nutcracker” with the joy and wonders of the holiday season. The most popular versions of the story, however, are radically different than the original tale that E. T. A. Hoffmann published in 1816. From a complex, Grimm-like fairy tale to one of the most popular classical ballets, “The Nutcracker” has undergone numerous transformations throughout its 200-year history. The story changed languages, crossed continents, and bridged art forms, ultimately leading to the sweet version audiences know today. Examining this trajectory highlights the influence of diverse cultural and generational values as well as the impact of different forms of storytelling. Like almost everything in Hoffmann’s original, the evolution of “The Nutcracker” is far more complex than it may initially seem.
When Hoffmann first published his fairy tale “The Nutcracker and the Mouse-King” in 1816, his writing career was finally getting underway. His use of art to explore different ways of engaging with the world made him a notable figure in literary circles. This perspective, however, put him at odds with practical and regimented approach to life that many in his social class embraced. Frustrated by this shallow worldview, “The Nutcracker and the Mouse-King,” which purportedly began as a tale for his friend’s young children, eventually became a critique of how the children were being raised. He aimed to create a new kind of fairy tale that spoke to both children and adult audiences. Many of the darker elements that he includes in “The Nutcracker and the Mouse-King,” such as the Stahlbaums’ judgmental attitudes and Maria’s macabre injury, invite adult readers to consider the bleakness of their own stifling realities.
In 1845, French author Alexandre Dumas published an adaptation of Hoffmann’s story entitled “The Tale of the Nutcracker.” The exact reason behind this adaptation remains a mystery, but Dumas nevertheless had respect for his German predecessor. Between these two versions of the narrative, much of the plot stays the same. Marie injures her arm during the Nutcracker’s battle with the Mouse King, Drosselmeier tells the story of Princess Pirlipat, and the Nutcracker takes Marie on journey to his kingdom. Where Dumas’ rendition begins to differ, however, is in its approach to storytelling. Much of the ambiguity that Hoffmann includes in his tale disappears in favor of clear explanations. There is little question that Marie spends the rest of her life as queen of the Puppet Kingdom, and Drosselmeier plays a kinder, more helpful role in her journey. Taking this approach refocuses the purpose of the story, transforming it from a social critique into entertainment.
“The Nutcracker” took on yet another form in 1892 when Ivan Vsevolozhsky, the director of Russia’s Imperial Theatres, commissioned composer Pyotr Ilyich Tchaikovsky and choreographer Marius Petipa to create a ballet inspired by Dumas’ adaptation. In writing the libretto for the new ballet, Petipa had to make substantial cuts to the original source material. The heroine, named Clara rather than Marie, goes on her journey with the Nutcracker over the course of one night, the story of Princess Pirlipat is eliminated entirely, and Drosselmeier plays a minimal role. Petipa also added the iconic character of the Sugar Plum Fairy, creating a role for the leading ballerinas to perform. When the ballet premiered, it was not considered a success. Many audience members complained about the abrupt shift between reality and the Land of Sweets while others lamented the prominence of children in the cast. For those hoping to see a rendition of Hoffmann’s original tale, Petipa’s ballet was surely a disappointment.
The evolution of “The Nutcracker,” however, did not end with Petipa’s ballet in 1892. Although the production laid dormant for many years, it made its way to England and premiered there in 1934. Ballet companies slowly began warming up to Tchaikovsky’s score throughout the first half of the twentieth century, but the arrival of “The Nutcracker” in the United States is what truly turned it into the cultural icon audiences know today. Famed artistic director Willam Christensen staged the first American production of “The Nutcracker” for his company, the San Fransisco Ballet, in 1944. George Balanchine then went on to choreograph his own version for the New York City Ballet in 1954, creating a holiday staple for many families. Today, a significant number of ballet companies and dance schools put on performances of “The Nutcracker” each season, although very few hearken back to Hoffmann’s original tale. Many different interpretations exist, including those that feature different choreography, different styles of dance, and even nods to local history, but most lean toward the sweetened aspects of Dumas’ adaptation.
