A magical revival of the Nutcracker ballet
There are few things as heart-warming as watching a new generation of dancers take the stage in a ballet you once performed yourself. The Deanna School of Dancing’s (DSD) production of The Nutcracker Ballet, staged from October 31 to November 2 at the Bishop’s College Auditorium, was just such an occasion—a vivid reminder that the spirit of classical dance continues to flourish in Colombo.
With over 450 students participating, this was a massive undertaking. The sheer scale of the performance required some creative restructuring, and the DSD team responded with imagination and flair. What emerged was a lively, family-friendly adaptation that stayed true to the essence of Tchaikovsky’s beloved work while making space for dancers of every age and level.
A joyous performance: Mum with Clara and Fritz
The evening opened with The Magician’s Workshop—a charming addition created specifically for the youngest students. For nearly 20 minutes the stage was filled with teddy bears, dolls, spinning tops, and jack-in-the-boxes, all bursting with colour and enthusiasm. The costumes were delightful, and the children danced with uninhibited joy. While purists might note that this scene and its music do not belong to the original ballet, its playful fantasy suited the festive nature of The Nutcracker perfectly, setting a tone of wonder and excitement.
The transition into The Christmas Party (Scene 2) was seamless, aided by a well-designed virtual backdrop that evoked the warmth of a magical household at Christmas time. Here the familiar Tchaikovsky score returned, and the audience could settle into the traditional story: Clara receives her beloved Nutcracker, the toy comes to life, and the ensuing battle with the Mouse King unfolds in a swirl of movement and colour. The mock “war” between the Nutcracker’s army and platoons of mice was staged with dramatic flair, culminating in a tender pas de deux between Clara and the Nutcracker—an audience favourite, judging from the generous applause.
From this point onward, the production offered a concise version of the classic ballet. Given that Sri Lanka has no resident professional ballet company, it was remarkable to witness such a high level of discipline and artistry from a largely school-aged cast. The dancers’ energy never flagged, and the coordination among the different groups reflected careful rehearsal and inspired leadership.
Scene 3, The Land of Sweets, brought an array of spirited “ethnic” dances—Chinese, Russian, Spanish, and Arabian – all performed with zest and stylistic confidence. The ballet concluded with the radiant Waltz of the Flowers, executed by the senior dancers with poise and precision. The demi-pointe work of the younger performers was commendable, and the advanced students displayed solid technique en pointe, some showing a notable degree of control and power.
One might have missed The Waltz of the Snowflakes, but this omission hardly detracted from the evening’s enjoyment. Even in international productions, one of the two waltzes is often omitted to preserve stamina in the corps de ballet—a practical decision that does not diminish the overall experience.
The principal cast delivered strong performances: Clara – Chanulya Dissanayake; Nutcracker – Shayantha Abeynaike; Sugar Plum Fairy – Anya de Silva; Mouse King – Senudi de Silva; Magician – Nitara Dissanayake; Doll – Lynaya Konara; Mother – Roshenka Jayamaha; Fritz – Natania Gapper; Maid – Nethaya Hewavitharana; Spanish Leader – Kinaara Malawana; Arabian Leader – Vinali Wickremasinghe; Chinese Leader – Stephanie Peries; Russian Leader – Ayanah de Mel.
Particularly memorable was the rapport between Clara and the Sugar Plum Fairy – their duet radiated grace and sincerity, combining technical fluency with emotional warmth. These young dancers captured the poetry at the heart of The Nutcracker: the delicate blend of innocence, courage, and dreamlike fantasy.
Behind the scenes, the production benefited from inspired choreography by Natalie Jayasuriya, whose sense of pacing and stage balance kept the vast cast in harmonious motion. The overall design – costumes, lighting, and digital backdrops- added polish and visual enchantment. At the helm stood Natasha Jayasuriya, Principal of DSD, whose steady vision and attention to artistic detail turned this complex enterprise into an evening of pure magic.
Finally, a tribute must go to Deanna Jayasuriya, founder of the school, whose decision decades ago to adopt the Royal Academy of Dance syllabus set a professional benchmark for ballet training in Sri Lanka. Her legacy was vividly alive on stage, reflected in every confident gesture and radiant smile of her students.
DSD’s Nutcracker was more than a performance – it was a celebration of continuity, community, and the enduring beauty of classical dance. For those of us who once shared that stage, it was a nostalgic and uplifting reminder that the dream still dances on.
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