Suggestive Plotline?

I think you're quite correct: the intent was to show a Drosselmeyer with an inappropriate interest in a child of 12 or 13.

I think he was shown somewhat sympathetically, as a lonely, socially awkward person who had developed a fixation on the child Clara. But the film made clear that even though it was possible to feel sorry for him, his interest was not welcome or healthy, and for Good to triumph in the end, he couldn't succeed in his drive to be a part of Clara's life.

It's all subtle enough to keep the production from being overly disturbing, I think. And viewing it could actually be very helpful to children confused by 'overly friendly' behavior from adults in their lives---it could open an avenue for discussion.

As you say, it was an edgy choice for the creators. I suppose that when any company decides to produce "The Nutcracker", they are naturally ambitious to do something that hasn't been done before...and this would qualify!

I am suprised by your post only because I do not think this is the only version with these adult themes. In fact, I think the 1977 Tony Charmoli production does as well. I too grew up watching that version, and certainly didn't notice any such thing as a child, but to look back to it now I definitely see that aspect to the story.

while i do agree that Drosselmeyer is more suggestive in this version in the beginning Clara clearly states he is very childlike most of the time. She also states she is 15 as of that Christmas Eve.

I've been going to this (the live version at The Opera House/McCaw Hall) for 18-odd years now, and I never really noticed it until tonight's performance. Of course, it was mostly due to the horrid acting of the girl that played Young Clara. After the group Ballroom dance, she kinda went off into the corner and fiddled with her dress awkwardly. I was like, "What Clara... Did he touch you...?" Only then did I start getting thoughts of pedophile!Drossylmeyer.

I really don't think it was intended that way, though. It was probably put in there because the show is intended for families. And you know how family movies are. There has to be a villian that tries to steal the fair maiden from her prince. Make children see Drossylmeyer as a bad guy. (I did when I was a kid, but now I adore him!)

And as for good/bad changes? As far as I'm concerned, it's not a change. I grew up with PNB, and see it as the end-all, be-all of Nutcracker Productions.

BTW... Hoorah for 25 Years of PNB Nutcracker! :D

I watched this version of The Nutcracker last night and it was my first time watching The Nutcracker. I didn't know Drosselmeyer was supposed to Clara's godfather! It didn't look that way to me last night.

This thread is very old, so I don't know if anyone will see this, but I wanted to add my two cents.

I don't think that Drosselmeyer is intended to be a pedophile. I think what we see in this version of The Nutcracker (my favorite version, btw) is a combination of things.

1) Clara is 13, not the much younger girl portrayed in some productions. She is at the cusp of womanhood. She yearns to be grown-up and is undergoing a sexual awakening as she leaves behind the girl and embraces the woman. The narration even says such blatant things as, "I longed to dance with my beautiful papa." In the second act, the woman Clara watches with some trepidation the caged peacock played by the same dancer who portrays Clara's mother in the first act. I think that here, she has her womanhood and is afraid of what it represents. Her caged adult mother seems to point to that. Clara the young girl is fascinated by Drosselmeyer because he represents darkness and mystery. He frightens her and she likes it, not in my opinion in a sexual way, but in a more general sensual appreciation of and longing for adventure. Also, the transition from Clara the girl to Clara the woman as she passes through the hall of mirrors in the Mouse King's cloak is another blatant nod to her longing for adulthood.

2) Drosselmeyer is a lonely, young-at-heart man who spends his days alone in his workshop, creating toys and dreaming up fanciful adventures. He recognizes a kindred spirit in fellow dreamer Clara and yearns to connect with her, but he's socially awkward and inexperienced, and everything he does comes across as odd and/or frightening. I also think that if he has had a lonely life, he might indeed wish that he could turn back time and connect with Clara in a more meaningful way, but unfortunately it just isn't possible. I think his realization of this is represented at the end when he sends Clara back to the waking world. It's very clear by the look on his face -- resigned and wistful. He realizes that he (and his palace, both the dream palace and the toy one he made for Clara) are not right for her, and he sends her back to her home and her Nutcracker so that she can grow up the way she's supposed to and find real love with someone else.

3) The director of this ballet, as well as Maurice Sendak, intended to keep this production as close to the original story by E. T. A. Hoffmann as possible. I recently purchased a hardbound version of the Hoffmann story with illustrations and a foreword by Sendak, in which he discusses his collaboration with Kent Stowell, the director and choreographer. In the original story, Clara is named Marie and is only 8, and she does indeed share a curious and odd relationship with Drosselmeyer. Overall, the Hoffmann story has some very erotic and dark undertones, and I think that Stowell, Sendak, and everyone involved in this production really wanted to convey that and try something different, as most productions of The Nutcracker are sugary, sweet, and lacking any sort of compelling narrative.

"The moral sense in mortals is the duty / We have to pay on mortal sense of beauty"

According to the PNB book, Drosselmeyer appears in her dream, ushering the "dark' element (the trio who reappear at the ball, the rat that bites her). This may be a later addition to the ballet, or something cut from the movie footage.

So she saw him in the scary part of the dream, and sees him now, and it puts her on edge. That's all.

I happen to disagree with you on basically everything you've said.

[warning, LONG rant ahead]

1. The Narrator states that he is their godfather. He is also a brilliant clockmaker, toy maker, and inventor. Why can't he be all of those things? Their mother surrounds herself with interesting people, Drosselmeyer is probably the most interesting one of all! In fact, in the Overture he not only begins constructing the dollhouse, but everything else that appears in Clara's dream - even in the dance scene, which implies that Drosselmeyer, among other things, is a dream weaver!

2. On the surface it would definitely appear that way, but if you actually listen to the Narrator (grown-up Clara) and read between the lines, you'll find that things are nothing what they seem. The Narrator states that Drosselmeyer would act like a little boy. As an eccentric genius (also stated by the Narrator), there is no doubt that he was brilliant and could make wonderful things, but he probably didn't have the best social skills and got along best with children because they appreciate his creations the best and he likes their imaginations. That doesn't mean that he's a pedophile. Regarding Clara, I'm sure we've all been the favorite of a godparent/aunt/misc. close adult at some point in our lives. Clara just happens to be Drosselmeyer's favorite. Seeing as he acts childish when he's around children, he probably enjoys teasing her (by giving her 'wicked' dreams and goading her little brother to annoy her, for instance). In fact, when he hands out all of the presents, at first he pretends to have forgotten one for her and watches her become upset (with a devilish glint in his eye), before sending for her gift. It is clear that he loves her very much - seeing as he labors over a lavish dollhouse (?) just for her. Clearly he himself has very fragile emotions, seeing how upset he becomes when Clara shows more interest and love for a Nutcracker that was hiding in the tree than his gift. Despite her rejection (she never knows how to act around him due to his mercurial temperament and constant razzing), he still repairs her beloved Nutcracker after her brother breaks it and she despairs. And when they dance together (although she is aggravated at the thought), Drosselmeyer makes her laugh and completely enjoy herself (which, in turn, elates him as well). Unfortunately, right afterwards she shies away from him and he is completely hurt by this and leaves in an insulted huff.

Regarding the rest of the story (mind you the whole thing is a dream to begin with!), I believe Drosselmeyer gives Clara another dream and inserts himself into it (again!) in order to get his 'revenge'. The Rat King is wearing Drosselmeyer's coat because it is one of his creations in order to attack Clara. When grown-up Clara and her Cavalier arrive at the palace (note that it is the dollhouse he made for her), Drosselmeyer is disguised as a Pasha and is vying for her affections (not her body!) with the Cavalier. Unfortunately for godfather, Clara, though having enjoyed all of the spectacles, still chooses her Cavalier. Drosselmeyer, clearly unhappy that he was thwarted (in his own dream) again, lifts the pair into the sky and then strikes them down. The Cavalier turns back into a Nutcracker and the dream ends.

3. Clearly you weren't looking hard enough because when Clara awakens, the snoozing Drosselmeyer is grinning. Meaning that he's successfully trolled Clara once again and is very amused by this >:3.

4. By the way, no one who features in this film is an actor, they were all either students of the PNB school or members of the company. The reason why she grows up is because she's in a dream (actually, quite a few lol!). She wanted to be with her Nutcracker for real. Instead of him being a doll and her a gawking youth, he becomes a dashing Cavalier and she a beautiful woman. Who hasn't had a dream like this? As it's been said above, Clara is 15 years old. She's not a girl anymore, but not yet a woman. She is conscious of herself and aware of men in a way she has never been before. While there is no sexual tension between Clara, Drosselmeyer's strange disposition towards her inspires thoughts and feelings (not exactly involving him) that are both frightening and exciting. And judging by the Narrators feelings about her dear Drosselmeyer, Clara still feels the same, after all these years, as her 15 year old self towards him. Any sexual tension is an illusion.

5. Clara is dreaming the entire time, so Drosselmeyer's actions are going to be exaggerated anyways. And he's never truly a villain, he's the puppet master (dream master in this case?) who is purposely fooling around with the dreamer for the lulz, which she doesn't appreciate.

As you can probably guess, I grew up with this version. It's the only one that I know. I saw the '93 film (which is based on the Balanchine interpretation of the story) and hated it, from the 'acting' to the dancing, and general flow of the story. I never understood the candy sweetness of it all. Anyone who grew up with that version will feel the same way I do about PNB's. It doesn't help that I'm from Seattle, so I'm extremely biased haha. I hope I made an intriguing counter and didn't offend.

Cheers!