Dancers’ tearful finale

Ballerinas dressed as butterflies stood backstage and cried.

Athletically built male ballet dancers dabbed their own moist eyes with tissue, while the artistic director watched it all and wept.

It certainly was a scene of sadness at the Orpheum Theater on Sunday afternoon, following the Omaha Theater Ballet’s final performance of “The Imperial Nutcracker.”

A victim of the recent recession, the ballet will disband at the end of its season in February. The company is best-known for its annual production of Tchaikovsky’s holiday chestnut. Emotions ran deep as Sunday’s performance drew to a close.

“I actually cried on stage during the Act 1 party scene,” said prima ballerina Rachel Vickrey following Sunday’s performance. “I’ll cry a lot more once this all sinks in.”

The audience on Sunday was also deeply moved. They cheered loudly for the dancing snowflakes and the Sugar Plum Fairy. But many were keenly aware that they were attending this ballet company’s final holiday show.

“I’m worried about what’s going to happen,” said Adella Smolsky, who attended Sunday’s matinee with her aunt and sister.

A 9-year-old student at Omaha’s St. Wenceslaus School, Adella has decorated her Christmas tree at home with characters from “The Nutcracker.” She’s seen Omaha Theater Ballet’s production seven times over the years.

“This is a huge tradition for our whole family,” said Jeanette Smolsky, Adella’s aunt.

Nicole McMullen, who has also attended previous “Nutcrackers,” was saddened, as well.

“I was disappointed to hear the ballet was closing,” McMullen said. “I have especially loved ‘The Imperial Nutcracker,’ which is so beautiful and traditional.”

Sunday’s performance capped an emotionally difficult week for Omaha’s soon-to-be-defunct dance company.

For the most part, the dancers remained focused on their jobs and stoic about their situations. Still, they were all painfully aware that they were preparing for their final “Nutcracker.”

Ballerina Carrie Wanamaker essentially grew up with Omaha Theater Ballet’s “Nutcracker.” As a child, the Omaha native studied dance with the ballet’s artistic director, Robin Welch. So the company’s annual holiday performance was always a major part of her life and career.

“It seems surreal that we won’t be doing this again,” said Wanamaker. “I’m really sad.”

Wanamaker’s husband, lead dancer Avram Gold, was also struggling with his emotions. But he didn’t show it during his rehearsals and performances.

“As a professional, I’m going to do the best job I can no matter how I feel,” Gold said. “The 5-year-old girl in the audience doesn’t need to know that I’ve been laid off.”

Welch didn’t hide her own deep disappointment in the demise of the ballet. She launched the company as a part of the Rose Theater in 1999, shortly after an earlier troupe, Ballet Omaha, folded. She’s been Omaha Theater Ballet’s director and chief choreographer ever since.

Her biggest artistic accomplishment has been “The Imperial Nutcracker,” which debuted at the Orpheum Theater in 2007.

She began working on her own design and choreography for Tchaikovsky’s classic ballet with artist Thom Peterson about seven years ago.

Their vision was to create a “Nutcracker” that called to mind the majestic splendor of Imperial Russia.

Sets and costumes were modeled after Peter Carl Fabergé’s bejeweled eggs. The gilded and ornate staging included, among other things, a giant Christmas tree made from more than 2,000 custom-dyed ostrich plumes, a flying sleigh and dancing Fabergé eggs and matryoshka dolls.

Welch estimates the cost of the sumptuous sets and costumes at about $350,000.

“This ‘Nutcracker’ has been a huge endeavor, and it’s certainly occupied a lot of my time and life over the past seven years,” she said.

Welch at least knows what she’ll be doing once the ballet disbands in February. She will open a new ballet school at 84th and F Streets.

Other members of the company are less certain about their futures.

Deborah Carr, the company’s ballet mistress who oversees training and rehearsals, will do some teaching during the evenings at Welch’s school. Still, she will lose her health benefits when the ballet closes. So she’ll take computer classes and look for a day job.

“I have to find some way to get on with my life,” she said.

Wanamaker, who married Gold in a ceremony at the Rose last summer, is also uncertain of her future.

“I’m looking at everything from dancing on a cruise ship to being a waitress,” she said.

Two other veteran ballerinas, Erika Overturff and Sarah Hubbell, are refusing to accept the death of professional ballet in Omaha.

“Without a troupe here, the closest ballet company would be in Kansas City,” said Hubbell. “That’s not acceptable.”

So Hubbell and Overturff recently incorporated a new company called Ballet Nebraska and have launched a Web site at www.omahaballet.org.

Overturff, who is also a choreographer, will serve as artistic director of the new venture. Hubbell will be administrative director. Most of Omaha Theater Ballet’s current dancers have volunteered to dance with the company.

Hubbell and Overturff have already started applying for grants. Their goal is to stage four productions next season.

“A lot of people have already contacted us to volunteer and to help,” Overturff said. “It’s been an emotional boost for us to learn there’s that much support for dance in Omaha.”

Contact the writer:

444-1076, john.pitcher@owh.com

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