The Nutcracker

September 26, 2016
Based on the New York City Ballet’s production of Balanchine’s version of The Nutcracker, this retelling springs to vibrant life in Docampo’s elegant, enchanting illustrations; her delicately curving lines, exaggerated shapes, and surreal palette are ideally suited to a story of glamorous holiday parties, fierce battles, and a magical journey to the Land of Sweets. An approachable retelling moves readers swiftly through the events of the story, always emphasizing the magic of the evening at hand (“With a rumble and a shake, the tree began to grow before her eyes.... Marie had never seen anything so big”). Given this story’s connection to the ballet, plenty of time is spent in the Land of Sweets, where Docampo showcases peppermint-striped acrobats leaping with hoops, marzipan flautists en pointe, and other confectionary wonders to spark children’s imaginations. Ages 4–8. Illustrator’s agent: Mela Bolinao, MB Artists.

This introduction to the ballet closely follows the production of the New York City Ballet, as originated by George Balanchine. Protagonist Marie is introduced on the cover as a blonde, white sylph dancing with her nutcracker toy. All the standard elements of the story are introduced in order, including the transformation of the Christmas tree, cleverly illustrated by shifting the page orientation by 90 degrees to accommodate its sudden growth. Marie and the Prince travel through the Land of Sweets, where they meet the characters from the ballet, such as the Sugarplum Fairy and Mother Ginger, before returning home in their magical sleigh drawn by reindeer. This interpretation has the advantage of a text that is not too long or complicated for young children. The captivating illustrations have an art nouveau look, with swirling skirts, trailing ribbons, and flowing hair styles. A concerning aspect of the style is the noticeable thinness of the female dancers, especially Marie and the other little girls at the party. Stick-thin arms and legs for little girls do not reflect reality and reinforce problematic body-image ideals. The main characters in the story are all white, while some of the party guests and dancers are from other ethnic groups. Two final pages include additional facts and the history of the New York City Ballet production. An appealing production overall and a helpful introduction for children preparing to see the ballet, but it's one that needs some real little girls as artist's models. (Picture book. 4-8) COPYRIGHT(1) Kirkus Reviews, ALL RIGHTS RESERVED.

October 1, 2016

K-Gr 2-Docampo's illustrations and the text are based on George Balanchine's staging of the Tchaikovsky work by the New York City Ballet. This is an approachable version of the story that will especially appeal to children who have seen the performance in person or on television. The stylized paintings have a whimsical, dramatic feel, full of sweeping curves and exaggerated features. The rich palette and shadowy lighting firmly plant the action on a stage. VERDICT A good option for families heading to the ballet during the holiday season.-Virginia Walter, UCLA School of Education and Information Studies

Copyright 2016 School Library Journal, LLC Used with permission.