For me, it was easy to see what was unusual about this dancer’s fouettes – because of my long ballet background which includes some teaching. The narrator explains somewhat, but I’ll add that holding the arms above the head increases the difficulty immensely because it creates drag, and the style of fouette with the whipping leg to the side when the supporting leg is in plie is more difficult because you don’t get as much oomph from the whip. I was initially taught fouettes that way, but later on was relieved to learn the other type, which is easier.
Fouettes are far from easy, though, especially on pointe. I could do them in soft shoes but was very bad at doing them on pointe:
Last night I went to the Boston Ballet’s Nutcracker, something I hadn’t done in ages and ages and ages. The Boston Opera House is as lovely and opulent as ever. This is a photo I took of the main lobby, designed in the days when the arts were elegant. The colors were actually much more intense, but the sparkly chandeliers washed them out somewhat in the photo:
The rest of the building is just as beautiful, although I didn’t take photos. The production was – well, let’s just say I thought that the dancing was of the modern mechanical variety for the most part, technically proficient but no more – except for the guy who played Drosselmeyer, who had a magnetic and riveting presence and paid attention to the details of every single gesture.
Ah, but the costumes and scenery – gorgeous! Again, no photos, but I’ll mention three things. The first is the design of the lovely Waltz of the Flowers costumes. The second is that the snow scene was practically a blizzard, very impressive and effective and the audience was enthralled. The third is that in the Kingdom of Sweets scene (Act II), I suddenly realized after about twenty minutes that the set designer had done something exceptionally clever – he had made the proscenium stage ballroom in which the dancing takes place an extension of the room in which the actual audience was sitting, with similar pillars decorated with gold, matching chandeliers, and murals in the same style. Bravo!
And Tchaikovsky’s music is always a treat.
The audience loved the whole thing, but they especially loved the fouettes. To me, fouettes are some of the least interesting steps in dance, although I understand how much strength and balance it takes to do them well.
And fortunately I’ve managed to find a video of the Boston Ballet’s snow scene that shows the profuse amount of snow the production manages to generate. I’ve never seen a snow scene with a snowfall this thick, which can be a hazard to the dancers but last night nobody slipped. In this video the snow really gets going starting around 0:20:

