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I can just imagine how Brussels’ audiences might have reacted to Morris’ parting version of the holiday classic in 1991. If like me, the initial response was horror. I’ve since changed; his portrait of the nouveaux riche Stahlbaums embodies everything of formless affluent USA. Morris backs up the aesthetic horror story with endless detail in the social milieu of the party where Mme (John Heginbotham) takes a Valium after adjusting her boobs, Marie (Lauren Grant)tries to see the gifts to be blocked by Nurse/Housekeeper (Kraig Patterson) who guards the black and white door on bent knees and pointe shoes, adolescent Louise/Princess Pirlipat (Julie Worden) leafs languidly through fashion and movie magazines. The use of a TV set to commence and end this version is verisimilitude personified.

The party is a marvel of detail, timed to the music with unerring skill. Morris, himself in black wig, blue paunch swelling over Martin Pakledinaz’ red trousers, executes a rheumy eye while giving the knee to delighted Louise. She attempts a return rub at any opportunity. There is an Afro whose dimensions almost defy the head it covers, the down beat he and his partner make for a wicked cross-cultural confrontation, precisely timed, uproariously received by an audience quite familiar with the Morris version. The manner by which gifts are handed to the three junior Stahlbaums, covered in black and white, makes a visual score card of parental indulgence consistent with the clueless material style which too frequently substitutes for caring.

Drosselmeyer (Craig Biesecker) brings on the mechanical dolls all right: Elisa Clark’s Barbie Doll in platinum boots and wig and white, high kicking. Samuel Wentz’ Robot gets a work out when June Omura’s Fritz grasps the control box.

Drosselmeyer and Marie have a genuine thing going; it’s not hard to believe she braves powered mechnical mice to contact the small version of David Leventhal’s Nutcracker after everyone has bedded down following the boistering and boose. Those GI Joes in rubberized battle garb engage the female mice in leotards almost fatally until Drosselmeyer zaps the rodents. An amazing pas de deux between this magician and his Nutcracker nephew follow where the snow monarchs usually display their skills. The snow flakes with two piece costumes and classic silver domed Egyptian headdresses spew fistfuls of ersatz snow to musical cue, make horizontal gestures with swirling entrances and exits, musically on the button, the ensemble worthy of an intricate Busby Berkeley routine to quote Rita Felciano.
 

Act II is a wonderful take off with the Mice devouring the child, the Stahlbaums becoming King and Queen. Marie intercepts any possible connection between sister Princess Pirlipat and the Nutcracker. The Arabian displays burnoosed figures; bull woman (read Knossos?) and toreador in Spanish; fashionistas for the Flute section. Waltz of the Flowers allows Queen Stahlbaum to indulge her fantasies in forward front, down stage diagonals amidst the flowers either drooping or reviving in petal skirts of green and purple before the purple hibiscus scrim with its pistil symbolically insinuating.

The grand pas de deux features both Marie and Nephew lifted by the cast, separated, passing each other until they meet, are separated, meet again, are separated and then join in lovely little magic encounters like the two enamored young humans they are. Lots of kissing is included. Their final appearance can be seen on the tellie before the Housemaid turns off the box after a Mark Morris Dance Company credit can be viewed.

There’s enough business in the production to invite several exposures. The audience felt the same way; whistles, cheers, standing, stomping, several curtain calls, with and without Mark Morris’ expansive presence and sweeping thanks to his infectious dancers.