From snowflakes to secrets, here are 40 years of memories to honor Nutcracker of Middle Georgia’s 40th anniversary
STORY BY KAILEY RHODES
Every year, Christmas in Macon is marked by an evening at the historic Piedmont Grand Opera House for The Nutcracker. Visitors are dazzled not only by the Grand’s soaring ceilings and velvet-lined boxes, but also by the production itself—from finely tailored costumes to a cast of community dancers and guest professionals. After auditioning more than a hundred dancers each fall, The Nutcracker of Middle Georgia rehearses a story of Christmas Eve anticipation, a magical toy, and Clara’s kaleidoscopic dreams.
What Jean Weaver began in 1985 turns 40 this year, and we think she’d be proud of the tradition Macon has carried forward. Whether it’s your first Nutcracker or your fortieth, audiences return year after year for both the big moments (“It’s not Christmas without The Nutcracker!”) and the blink-and-you’ll-miss-it details that feel like secrets between stage and audience.
This year, we asked dancers, costumers, crew, and longtime fans to share the little things they love most about Macon’s Christmas crown jewel. Their stories invite you to experience The Nutcracker more deeply, from the first sound of the bassoon to the snowy rose petals falling in pink light. Here are little things our community loves about The Nutcracker, from backstage rituals to silly superstitions, generational memories to audience traditions!
Here are 40+ little things we love about The Nutcracker, from backstage rituals, crew secrets, silly superstitions, generational memories, and audience traditions!
When you see the Opera Glasses icon, read for a tip on what to watch for onstage!
“One of the most inspiring parts of our production each year is giving our dancers the chance to perform with such outstanding professional guest artists. To see their artistry up close pushes our students to dream bigger and rise higher. It’s even more meaningful when former students return as guest artists or join the adult cast—sometimes even sharing the stage with their own children. Those moments remind me how deeply Nutcracker has become a family tradition, connecting generations through the joy of dance. It’s not just a performance—it’s a living legacy.
As Artistic Director, I watch every performance from the same seat with notepad in hand, jotting down ways we can refine and improve. Afterwards, I walk through each dressing room to deliver those notes in person—a ritual that’s earned a reputation of its own ‘you don’t want to be in Mrs. Alice’s notes!’ catchphrase. And in the middle of all that discipline, there are the little traditions that make me laugh—like the dancers who decided our Chinese dragon needed a name. Ever since, he’s simply been known as ‘Reggie.’ Those small touches remind me the magic isn’t just in the performance—it’s alive backstage too.”
– Alice Sheridan, Artistic Director, 2017–Present
“My dad has been with The Nutcracker since the very beginning—building sets, handpicking backdrops, perfecting every floor mark and lighting cue. My favorite trick of his is the silk backdrop that drops behind the Snow Queen mid-dive, just as snow dusts her head. It looks effortless, but backstage it’s all about staggered hooks and precise timing—too many hooks and it sticks, too few and it drops too soon. For forty years, the ‘silk fall’ has been his litmus test of a good show. Last year, when he missed his first performance due to heart failure, I recorded it from center stage to show him: the silk still fell.”
– Kate Long, Dancer and Stagehand 2013 and 2024
“Every year, 65+ people come together backstage in an anthill of costumes, props, and crew. One trick I love: in Drosselmeyer’s workshop I lick my finger, flick it toward a candle, and, if I time it just right—poof—it goes out. And look closely at the dolls I give the little girls: they become the Spanish, Arabian, Chinese, and Russian dancers in Act II.”
– Chris Abbott, Drosselmeyer the Toy Maker, 2014–Present
“No question about it—I will never forget twirling in the rose petals as Clara in 2002. I vividly remember tears rolling down my cheeks as those last petals fell during that final show. To this day, I get chills when I hear that music.”
– Mary Priestly Jarrard McLendon, Dancer 1998–2006; Clara 2002
“It was about 1991 when Nutcracker bought the first Snow Scene backdrop. Funds were hard to come by in those early years, and big scenery purchases came little by little. On Tuesday of production week, the new ‘Snow’ was unveiled for the first time. We’d invited founding board member Susan Cable to sit in the darkened orchestra and watch. Those of us who had raised the money for that $50,000 backdrop teared up at its beauty. That part of the ballet has become a favorite for many of us, and we still get misty when the silk is pulled away to reveal the Snow backdrop with the moon shining through.”
– Donna Williams, Board Member 1987–1997; 2000–Present
“Witnessing the continued support our community provides to such a strong arts institution only raises the status of Macon as the cultural hub of Middle Georgia. A rising tide lifts all artistic boats! We are indeed lucky to experience such a high quality production of The Nutcracker for the last 40 years right in our backyard.”
– Richard Frazier-Sostillio, Audience Member; Artistic Director, Theatre Macon
“My Nutcracker magic happens long before the curtain rises. The first year, I built and altered every costume out of my tiny dining room. Now, thanks to the Weaver Center, I work in a professional costume studio designed to my own specs—one of only three like it in Middle Georgia. It means our dancers wear standardized, tailored costumes, not cobbled-together pieces. I walked in and thought, ‘It’s exactly how it should be.’ And here’s a secret the audience may never know: the soldiers’ cavalry horses each have gemstone names—Ruby, Sapphire, Pearl—little touches of magic sewn right into the production.”
– Lauren Parris, Costume Mistress, 2019–Present
“The Nutcracker has been part of my life for as long as I can remember—from Lisa Coleman at Danceworks counting down the years until I was old enough to audition, to dancing every role from mouse to butterfly. Each came with its own story: kicking a bell offstage in a jester costume, a trap door refusing to shut during ‘Snow,’ even dislocating my knee opening night and still returning for the final performance. But my favorite memory is dancing as a girl rat beside my dad as Rat King. Now, watching my daughter fall in love with the same ballet makes the tradition even sweeter.”
– Emily Sanders, Cast Member, 2001–2010, 2021, 2022, 2024
“Watching my student Simon Phillips as the Jack-in-the-Box was pure joy. He leapt out of that oversized toy chest with a mix of athleticism and artistry, turning the brief cameo into a showstopper. The Jack-in-the-Box always bursts out during the party scene—gone in a flash, but a moment that can steal the spotlight when done just right.”
– Pilar Lowden, Audience Member; Founder, Hayiya Dance Theatre
“Nutcracker was a tradition for me even before I danced in it—I grew up watching my sister on stage. Since joining in 2019 as a mouse, I’ve grown more excited each year. My favorite memory repeats every season: sitting in the green room, waiting for Apotheosis, listening as the Sugar Plum and Cavalier dance their pas de deux. The music drifts backstage, and every time it fills me with happiness.”
– Delia Perkins, Cast Member, 2019–Present
“The magic begins backstage. I love guiding the Mice into place behind the fireplace curtain—crouched, clutching their tails so no one steps on them—waiting for the music cue. On the other side, the Jesters crawl under Mother Ginger’s skirt, buzzing with energy. And nothing compares to pushing the cannon onstage for the Battle Scene—watching Rats, Soldiers, Cavalry, Clara, and the Prince all spring into action. Standing there, you feel the heartbeat of the show. That’s why I’ve been here for 40 years.”
– Tony Long, Board Member 1985–2025; Production Director 1989–2025
“My favorite moment is right before stepping onstage. A few of us started a tradition in 2022—counting down from eight, shaking out our arms and legs, then hugging and wishing each other luck before the music cues us to go. It’s a ritual the audience never sees, but it’s carried us through every performance since.”
– Gray Griffin, Dancer, 2018–Present
“One of my favorite parts comes right at the opening. While we’re waiting behind the curtain, Drosselmeyer is putting his finishing touches on the nutcracker and the overture begins. Backstage, our assistant director Rick can’t help but boogie down—and before long we’re all laughing and joining in, schooling our faces at the last minute to the balletic reverence of the scene. That silly moment fills us with the playful energy we need to begin the show.”
– Stacy DiBois, Frau (the Party Host), 2021–2025
“The Rat King is pretty laid back these days, though his earring and goatee hint at wilder times. My entrance comes through a trap door—legend says Houdini once used it! Dancers love to watch me crank up from the green room, never knowing if I’ll pop out early, late, or nearly face-plant due to the limited vision inside the rat head. I’ve even led a pack of rats into barre warmups—try finding leg warmers for hairy rat legs. One time, while sword fighting the Nutcracker, my sword actually snapped in half. Suddenly it was less ‘epic duel’ and more ‘air guitar solo.’ Needless to say, keep an eye out for my new sword, made with ballistic Kevlar and resin.
Mother Ginger is another story. She’s a shameless flirt with the audience, the Prince, even the pros. I’ve pinned silly notes to my dress and hidden a remote-controlled fart machine under the Prince’s chair—always keeping him on his toes. After all, somebody’s got to keep the ballet from taking itself too seriously.”
– Donn Rodenroth, Board Member; Rat King & Mother Ginger, Involved 20+ Years
“In 2011, we suddenly had no Mother Ginger. Alice came home and said, ‘Guess what? You’re going to be Mother Ginger this year!’ The 80-pound dress swung with every step, straps digging into my shoulders, my legs duct-taped into 1970s stilts. My biggest fear wasn’t falling—it was stepping on the 18 little feet under my skirt. Seven shows went fine until the very last step of the last performance. I felt a squish, froze on one stilt, and blurted, ‘I’m so sorry!’ A tiny voice from under the dress replied, ‘It’s OK, Mr. Alice.’”
– Tino Sheridan, Proud Husband of Director Alice Sheridan; Emergency Mother Ginger, 2011
“I remember the very beginning. Nutcracker started because Jean Weaver wanted to do The Nutcracker. She handpicked ten of us, and with no money we each put in $10 to start the nonprofit. We began in May 1985 and staged four performances that same year. We became a family, working together to create an affordable, quality Nutcracker for Middle Georgia.
In 1991, we began a free school performance for Title I schools. The curtain stayed open so children could see the snow machines, the trap door, even the clock wings in motion. For many, it was their first theater experience. I’ll never forget a little girl who came in her Sunday best—her new dress still had the sales tag attached. Over the years, thousands of children have been touched by this ballet. I’m proud of the 32 years I worked with Jean Weaver and Tony Long—Jean called us ‘the three-legged stool’—to make this tradition possible.”
– Marianna Gebara, Founding Member 1985; Managing Director 2001–2017; Stage Manager 1989–2016
“By my last year, Marianna Gebara and I had our own code names over the radios—she was Mother Goose, and I was Fuzzy Bunny (likely because I’d lost most of my hair by then). We celebrated together when we broke the attendance record that year. And maybe—just maybe—we squeezed in a few extra seats for that final matinee. The stats are hazy…”
– Phil Banze, Grand Opera House Director of Operations, 2011–2015
“One moment never fails to give me chills: the Dream Scene. At 14, dancing Clara, I’d rush backstage for a quick change—out of a party dress and soft shoes, into a sparkling pink nightgown and pointe shoes. Watch how Clara bourées backward as the Christmas tree grows taller and taller. Tchaikovsky’s score swells from childlike to vast and mysterious, and in that instant the parlor dissolves into a dreamworld. The audience feels Clara’s awe as if it’s their own.”
– McKay Powers, Dancer 2010–2018; Clara (year TBD)
“There are so many things I love, but three stand out. First, the Cavalry—tiny soldiers on tiny horses that actually gallop across the stage. I’ve never seen it in any other Nutcracker, and it’s delightful. Second, the Grand Opera House itself: historic, beautifully cared for, a character in the production all its own. And third, the community. Families paint their car windows with dancer names, and audiences pour in from across the region. Last year I stepped out the stage door and met two Mennonite women who had driven hours from rural Georgia because it was their dream to see the Nutcracker at Christmas. I’ve never seen a community rally for a production the way Middle Georgia does.”
– Jordan-Elizabeth Long, Sugar Plum Fairy, 2024–2025
“Being in the party scene feels like joining a family. The women rehearsed together for weeks, then shared a dressing room—zipping each other into gowns, swapping jewelry, and showing off curls. My favorite piece to wear was a brooch my son gave me one Christmas. Onstage, I played a party guest alongside my husband, and for a few years our daughter too. Backstage, he was stunned to learn the giant clock is actually powered by people inside it. And of course, keep an eye on grandpa; we were never entirely sure what he kept in that flask…”
– Kaye Hlavaty, Party Scene Parent, 2011 – 2015
“It’s hard to choose a favorite because there are so many, but I’ll never forget my first year dancing Snow. When the backdrop fell and the snowflakes fluttered down, I had goosebumps every time. Now, sitting in the audience, I still feel that same thrill watching others experience it for the first time. Ms. Weaver and Ms. Alice teaching us on the Grand Opera House stage—and the friendships we built there—will always hold a special place in my heart.”
– Natalie (Martinez) Elmquist, Dancer, 2001–2005
“I bought a last-minute ticket to go by myself, and I was surrounded by little girls dressed in their finery who were agape at the magic of the evening. And as I plan this year, I’m tempted to go alone again, just so I can watch the little girls as much as I’m watching the show.”
– Lori Snow, Audience Member
“It’s a strange, electric moment standing just behind the curtain, hearing the muffled audience. My heart pounds louder than the orchestra until the music starts—time slows for an instant, then races as I hit my first pose.”
– Mary Frances Britt, Dancer 2019–Present; Clara 2024
“I love our Nutcracker—the artistry, the scenery, the costumes, the lighting—and how far it has come in 40 years. Ninety percent of the talent onstage is homegrown from Middle Georgia, supported by exceptional guest artists, which is why this production feels like it belongs to all of us. I’ll never forget the moment in the Grand Opera House when the sky silk dropped to reveal the snow scene. It was so breathtaking, I wept. Over the years I’ve watched generations of dancers grow up through this show—some even from Clara to the wedding aisle. The Middle Georgia Nutcracker is a true treasure.”
– Jim Crisp, Founding Artistic Director, Theatre Macon
“My mom first took me to The Nutcracker at age two, and I was mesmerized. She enrolled me with Jean Weaver with one goal: someday I’d dance Clara. I started as a mouse, missed a year, then came back stronger. I even trained at North Carolina School of the Arts to prepare for the audition. When the call came that I’d been cast as Clara—the role of a lifetime—my dad picked me up and we cried happy tears together. I reprised the role the next year, even after fracturing my ankle in rehearsal. What stays with me are the friendships, the thrill of sharing the stage with professionals, and the pride of knowing our Nutcracker stacks up to any in the country.”
– Rachel Lewis, Dancer 1992–2001; Clara 1997 & 1998
“Load-In Saturday is one of my favorite traditions. While rehearsals go on at the Weaver Center, volunteers form an assembly line—costumes, props, souvenirs—loaded onto a truck, then unpacked at The Grand. Props are laid out in precise order: lighted Christmas trees for the Angels, swords for the Soldiers, horns for the Heralds, the Sugar Plum’s wand. Backstage waits the Cavalry horses, the Dragon, and Mother Ginger’s massive dress, lowered from the rafters onto the gentleman seated on the rolling platform. I’ve worked the prop table for years, and it’s pure joy watching the excitement as kids grab their pieces and professionals mentor the younger dancers. Once, during a lull at tech, I even saw a professional dancer on the floor arm-wrestling with the boys—everyone laughing, no one starstruck for long.”
– Holly Riley, Nutcracker Board Member 2019–Present; President 2022–2024
“For me, The Nutcracker is more than a performance—it’s a family reunion. I’ve worked it for years, made lifelong friends, and watched dancers grow from mice to Clara to remarkable adults. One of my favorite memories is tied to the Rat King’s entrance. One year, when we couldn’t get the flash pot materials, I was asked to fake the explosion. I went home and layered about 30 different sound effects to make the perfect ‘BOOM!’ It worked so well it’s still in the soundtrack today—so when the Rat King bursts onstage, listen closely. That boom is homemade.”
– Bob Mavity, Technical Director at the Piedmont Grand Opera House, 1994–Present
“Columbine was always magical to me, but dancing it was another world. The crawl-in was a ritual—my friend Addison, the Harlequin doll, and I would squeeze each other’s hands, jump a few times, and take one big breath before crouching down to crawl into our boxes. Inside was tight; I crouched on hands and feet, tutu brushing the sides, glitter coating my hands and pointe shoes.
The Columbine cue comes quickly, but the pop is tricky—she must look like a doll being wound up, bent in half until my legs sometimes went numb. Even the exit was delicate, making sure my tutu didn’t snag on the box’s edges. Once, my eyepiece slipped over my eyes mid-dance. With spacing changes flying around me, I had to trust muscle memory to get through. After that, I taped the mask in place every show. To this day, Columbine is still one of my favorite parts of the ballet—magical from both sides of the stage.”
– Ellen Smith, Dancer & Columbine Doll, 2021
“My children are always delighted by Mother Ginger—the jesters tumbling out from that enormous skirt never fail to get a laugh. One year, my then–four-year-old daughter was wide-eyed when the Arabian male dancer came out shirtless. She gasped, ‘Mama! He’s naked!’—sending our nearby audience section into gales of laughter.”
– Bowen Reichert Shoemaker, Audience Member
“I grew up doing Nutcracker, from a tiny mouse to Lead Marzipan, and 25 years later I returned to the stage as a Mother in the party scene—with my daughters Bailey and Caitlin marching on as Toy Soldiers. Sharing the same backstage hallways and warm-ups I once experienced as a child, now alongside my girls, was a true full-circle moment for our family. And of course, Nutcracker wouldn’t be complete without a little backstage mischief.
One of the funniest memories came during the 2023 production, when the Rats showed up in full costume and crashed Mrs. Alice’s barre warm-up on stage. The live stage feed had the entire Act I cast in the dressing rooms howling with laughter.”
– Melissa Thanos, Dancer 1990–1998; Party Scene Mother 2023, with Bailey & Caitlin, Toy Soldiers
“I’ve seen Nutcracker of Middle Georgia for at least 14 years, and what amazes me is how a community this size creates such a beautiful ballet with professional-level scenery, costumes, and dancers. One of my favorite parts is the Dream Scene—but here’s a tip: watch how the Nutcracker doll moves through the story. From Clara’s arms in the party scene, to the tug-of-war with Drosselmeyer, into the chaos of the battle with Rats and Soldiers, its journey ties the whole scene together. And of course, it gets a whole lot easier to follow once the doll turns life-sized.”
– Amy Green, Nutcracker Board Member, 2015–2025
“The most special part of Nutcracker is the bonds formed with my fellow dancers. Spending every weekend working hard with my best friends—and yes, plenty of hours of Mrs. Alice yelling at us!—was a joy. Nutcracker also brought me closer to my mom, who served on the board, making it something we shared together.
One of my favorite backstage traditions is barre themes. Each night before the show, we take class onstage to warm up, but we dress up for the occasion: decades day, Christmas spirit, movie characters, or everyone’s favorite, ‘Mrs. Alice Day.’ We show up in black, with glasses, red lipstick, coffee cups, and notepads full of corrections, then take a group photo pulling her signature rehearsal faces. It’s all nerves and excitement—but also laughter, friendship, and tradition.”
– Mary Ella Green, Cast Member 2015–2024
“I loved sharing each moment backstage with my best friends—Annie Baxley, Mary Ella Green, and Sophie Sizemore. We grew up together in Nutcracker, and performing each December made Christmas unforgettable. Finally moving into the ‘older girls’ dressing room’ felt surreal. We laughed while putting on blush and bright red lipstick, remembering past years, while watching the littles step into their Cavalry and Toy Soldier costumes for the first time.
I’ll never forget the sparkle in their eyes as we tied our pointe shoes, knowing they dreamed of doing the same one day. Whether helping each other with quick changes between Flowers and Marzipan or simply soaking up the magic on stage, those nine years created a bond and a community I’ll cherish forever.”
– Bella Marshall, Dancer 2014–2023
“I love the togetherness of family. This is an affordable show that families look forward to each year. Mothers bring their little ballerinas, hoping to see them onstage one day. Friends come with coworkers, grandparents come to watch grandchildren. All generations, no matter what your family looks like, find themselves gathered together at Nutcracker of Middle Georgia. It’s more than a show—it’s a celebration of togetherness.”
– Amanda Wood, Board Member, 2025
“I grew up in Columbus, Georgia, and in 2018 my mom began driving me to Macon to train with Alice Sheridan. That fall I auditioned for The Nutcracker and was cast as Clara. Because of the role, I was quickly immersed not only with fellow dancers, but also with parents, board members, and crew at the Grand Opera House. The warmth and support I felt showed me this was more than a ballet—it was a community.
Today, my mom serves as president of the board, and I am now a professional dancer with Chattanooga Ballet. I would not be on this path without Nutcracker of Middle Georgia and Alice’s guidance. I still return to Macon to train and to teach, most recently at the 40th anniversary intensive. I’m proud to keep giving back to the organization that gave me so much—and proud of my mom, who still makes that same drive we started years ago.”
– Lucy Sheppard, Dancer 2018–2019; Clara 2018
“The entrance of the Sugar Plum Fairy and Cavalier for their pas de deux brings tears to my eyes every time. The hush falls, the music swells, and then they appear—embodying tenderness, grace, and the sheer strength of romantic love. It’s as if the stage itself transforms into a Christmas romance. Tip: listen for the orchestra softening just before their entrance—the quiet makes their first steps feel even more magical.”
– Cinnamon Swan, Audience Member
“As a child, visiting my grandparents in Macon meant two holiday traditions: tea with Santa at the Hay House and seeing The Nutcracker of Middle Georgia. Now, as an adult back in my adopted hometown, I’ve rediscovered ballet through classes at the Jean Evans Weaver Center for Dance. This summer’s anniversary intensive gave me a new community of adults who share the same fellowship and love for ballet. There’s something charming about stepping into that iconic black leotard again—it proves you’re never too old to find the magic in dance.”
– Kyndall McKemie, Participant, 2025 Dance Intensive honoring the Nutcracker’s 40th Anniversary
“Being Clara in 2023 came with its own brand of chaos. Between the Party Scene and the Dream Scene, watch for Clara’s frantic minute to change from a party dress into a nightgown and from flats into pointe shoes. My quick-change helper was a lifesaver—every night she had gummy worms and nuts from Fresh Market waiting for me as I was sweating bullets, trying to breathe while racing into pointe shoes. Then came the Dream Scene itself—the most exhausting stretch of Clara’s role, nonstop dancing as the rats appear and the battle begins. The audience never sees how hard you’re gasping—and that’s all part of the magic.
Not every moment went smoothly. One night, after the rose petals fell and I ran offstage for the final quick change, my crown snagged in the netting of a scenic urn. For ten terrifying seconds I was stuck in the dark, knowing I had to be back onstage, asleep on the couch, in moments. With three helpers pulling at bobby pins, the crown finally popped free and I made it just in time. It’s the kind of mishap you never forget—proof that even in the perfect illusion of Nutcracker, there’s always a little backstage scramble holding it together!”
– Veronica (Ronnie) Perkins, Dancer 2016 – 2025, Clara 2023
“The Macon Nutcracker has always been a family affair. I was a student of Jean Weaver’s in the 1980s and ’90s and danced from the very first year she directed until I left for college. My father began helping backstage then and has worked every year since, keeping our family tied to the production. Over time, my siblings danced or crewed, my mother assisted with grant writing, and now my sister and I bring our kids home to see it. My dad still shares stories of new sets, props, and backstage changes, and we even have a running debate about the best choreography in Act II. Every time I hear a snippet of Nutcracker music, I smile and tear up—it’s tradition, pride, and family all at once.”
– Jennifer Long, Former Dancer 1985–1993
“One of my most cherished memories is dancing Clara, wearing the party dress and nightgown my grandmother, Martha Ruth Shinholser, sewed by hand. I still own those costumes 23 years later, and they remain a reminder of her love, talent, and the joy we shared. Though she has passed, the memory of her and that magical time will stay with me forever.”
– Meredith (Hammock) Olsen, Cast Member 1996–2005; Clara 2002
“It was about 1991 when Nutcracker bought the first Snow Scene backdrop. Funds were hard to come by in those early years, and big scenery purchases came little by little. On Tuesday of production week, the new ‘Snow’ was unveiled for the first time. We’d invited founding board member Susan Cable to sit in the darkened orchestra and watch. Those of us who had raised the money for that $50,000 backdrop teared up at its beauty. That part of the ballet has become a favorite for many of us, and we still get misty when the silk is pulled away to reveal the Snow backdrop with the moon shining through.”
– Donna Williams, Board Member 1987–1997; 2000–Present
Barrington Hinds, Guest Artist, role: Arabian
What I love about NMG production every year is getting to see all the crew backstage and feeling their warm hospitality. They are my NMG family and to feel their excitement as the production opens truly puts me into the Christmas spirit. Christmas is my favorite holiday and without performing every year with NMG the holidays just wouldn’t be the same.
Alexandra Rene Jones, “Snow Queen” & “Dew Drop” 2024, 2025
I love the joy & excitement that radiates from the children’s faces backstage before every show, and the wonder & awe from those I met from the audience after the show. It is truly a magical production for everyone involved.
Cindy Jarrard, Nutcracker of Middle Ga Board member and parent of former dancer
When seeing Clara perform the pantomime at the beginning of Act 2, I am always reminded of our founding director, the late Jean Evans Weaver, teaching these very movements to her Clara during rehearsal. As she acted out this narrative of the the battle scene, she would also explain each movement and gesture to her dancer. It brings me to tears every performance.
Caroline Perkins-parent/backstage/board member
Snow….When the music swells and the blue silk drops, I get teary eyed every single time..doesn’t matter if I am watching from the audience or watching from the green room. I gets me!
Ashley Griffin, Board Member & Dancer Parent
One my very favorite things about Nutcracker is, believe it or not, working concessions at intermission. Patrons come in with huge smiles, giddy with excitement, especially the little ones. They cannot stop talking about what they just experienced. Getting to observe and listen, from behind the concessions counter, is special. Not many people see that view, and I’m thankful!
Lindsay Crisp, assistant artistic director
I have had the honor of assisting both Jean Weaver and Alice Sheridan and while some small details change over the years there are some things that have remained the same for many years. I have an old purple binder of Ms. Weaver’s with all of her handwritten- always in pencil- notes on the choreography, scenery, pictures of props and costumes. We call it the Nutcracker Bible. We don’t use it as much as we used to but there is always a moment when we have moved into the Grand where we get to pull it out and keep the magic alive! I love being a small part of such an important legacy.
This article celebrating 40 years of The Nutcracker of Middle Georgia is dedicated to the memory of Alexander Tyrone Merriweather, Assistant Technical Director, Piedmont Grand Opera House. Since 1998, Ty had been the keeper of every note about the production—from load-in to load-out and all the moments in between. He knew where every drop hung and every cue that made the show run seamlessly, from the overture to the final bow. When the curtain rises this holiday season, remember Ty and keep his spirit forever warmly welcomed at The Grand.
Photos by Will Hanley courtesy of Nutcracker of Middle Georgia
