Publishers Weekly
★ 09/14/2015
Balancing evocative turns of phrase with a crisp, forthright narrative, Barton delivers an involving account of how watching The Nutcracker ballet, which originated in Russia, became an American holiday tradition. The movement was fueled by the Christensen brothers from Utah, who turned their passion for dance into careers in vaudeville and prestigious dance companies, before two of them choreographed and staged the first full-length American production of The Nutcracker in 1944. In her first picture book, Gendron uses pencil-and-oil art—strikingly textured with sweeping scratch-marks—to provide views from studio, audience, and stage wings, expertly capturing both the period setting and the graceful movements of the dancers. A detailed timeline and archival photos round out a fascinating bit of artistic investigation, one with year-round appeal. Ages 7–11. Author’s agent: Erin Murphy, Erin Murphy Literary Agency. (Sept.)
From the Publisher
"This well-researched history [is] . . . a terrific choice for fans of The Nutcracker and all things ballet."—starred, School Library Journal
School Library Journal
★ 10/01/2015
Gr 2–5—This well-researched history tells how three brothers from a small town in Utah came together to present the first full-length version of The Nutcracker in America. That performance on Christmas Eve, 1944, at the War Memorial Opera House in San Francisco started a holiday tradition that continues to this day in cities across the United States. Gendron's colorful illustrations capture the historical setting and the action and drama onstage and off. Back matter includes a time line with black-and-white photos, a summary of the story line, and suggestions for further reading. VERDICTA terrific choice for fans of The Nutcracker and all things ballet.—Virginia Walter UCLA Graduate School of Education and Information Studies
Kirkus Reviews
2015-08-12
From Russia with battling mice and waltzing flowers. In the early 20th century, three brothers from Utah caught dancing fever and went on to join the vaudeville circuit, performing all across America. One of the brothers went on to Portland, Oregon, to start a ballet school and, following the advice of a Russian émigré conductor, used music from Tchaikovsky's The Nutcracker to choreograph dances for his students. Two of the three siblings found themselves in San Francisco in 1944 in search of a big-ticket number for the San Francisco Ballet. Everyone helped on the production, but it was not until 1949, with all three brothers working together, that The Nutcracker as an annual Christmas tradition began. Barton writes with an easygoing, folksy style with, perhaps, an overreliance on the phrase "the whole shebang." Though Barton ably does here what he did for the inventor subjects of Sibert honoree The Day-Glo Brothers, illustrated by Tony Persiani (2009), balletomanes will regret that he doesn't go into greater detail about the actual San Francisco Ballet production. Gendron's oil paintings present scenes from the lives of the brothers and from the staging of the ballet. A swirling ribbon is an appropriate ongoing motif, but too often the dancers appear in stiff, cardboard poses. Nutcracker aficionados can enjoy a background overture to a Christmas classic. (author's note, illustrator's note, timeline, summary, photographs, further reading) (Picture book/biography. 5-10)
