“The children danced, the snow fell, and Clara dreamed…”
Every year, those familiar notes fill the theater and hearts across the Treasure Valley as Idaho Regional Ballet and Eagle Performing Arts Center (EPAC) bring The Nutcracker to life. The beloved holiday classic captures the wonder of childhood and the beauty of transformation — both in its story and in the dancers who perform it.
When the curtain rises, audiences are swept into Clara’s dreamworld—a magical journey that begins at a festive Christmas party, unfolds through a daring battle between toy soldiers, mischievous mice, the Nutcracker, and the Rat King, drifts through the shimmering Kingdom of Snow, and culminates in the enchanting Land of Sweets. Behind every pirouette and perfectly timed jeté lies months of dedication, rehearsal, and the kind of passion only dancers can truly understand.
This year’s production, held December 19–21 at Boise State University’s Special Events Center, once again promises the magic audiences have come to expect — but also a few beautiful new surprises. IRB’s Artistic Director, Liz Keller, tailors each year’s choreography to the strengths of her current dancers. “I want to showcase the dancers in front of me — their artistry, their strengths, their growth, and their heart.”
And it shows. From the very first notes of Tchaikovsky’s score, every dancer—from the tiniest baby mice and angels to the shimmering Snowflakes and waltzing Flowers—brings their own light to the stage.
Growing Up Through the Roles
At EPAC, home and training ground for Idaho Regional Ballet, The Nutcracker is more than a performance—it’s a rite of passage. Each level of training becomes a new chapter in the ballet itself. The youngest dancers, ages five and six, step into the spotlight as baby mice, learning to move with the music and feel the joy of performance. As they progress, they take on roles as angels, toy soldiers, bonbons, and party children—each part marking a new level of skill, confidence, and artistry.
By the time dancers reach the Idaho Regional Ballet company, they’ve transformed—much like Clara herself—into artists capable of leading the story. They bring to life characters such as Clara, Snowflakes, the Snow Queen, Flowers, Dew Drop, and Arabian Coffee, and share the stage with professional guest artists, including this year’s Sugar Plum Fairy, Ashley Knox, and her Cavalier, Shimon Ito, both principals with Miami City Ballet.
A Labor of Love
While The Nutcracker glitters on stage, it is built by a village behind the scenes—from the incredible IRB rehearsal personnel, Admin director, Elizabeth Schelin, lighting designer, Ryan White, the technical crew members that have been a part of the production for over 10 years, to parents helping to build and paint sets, mending costumes, chaperone and dress dancers, nutcracker boutique sales and volunteering both backstage and onstage (and sometimes lending their acting skills). Wade Keller, local business owner of Keller Skincare and father of four, transforms from Dr. Stahlbaum in Act 1 to Mother Ginger, much to the delight of audiences.
And then there’s the heart behind the costumes—literally sewn into every sequin. After nearly two decades, beloved costume designer Robin Holsinger is retiring her needle and thread. Since 2008, she has hand-constructed every gown, tutu, and soldier jacket, leaving a legacy that will dress generations of dancers to come.
“It’s bittersweet,” says Liz. “Her work has shaped the visual identity of our production. The beauty she created will live on for decades.”
Training That Builds More Than Dancers
Putting on The Nutcracker takes more than the 10 weeks of in-studio rehearsals before opening night—it takes years of preparation. EPAC dancers, some training 16–18 hours or more per week, learn not only technique but also discipline, teamwork, and the joy of artistic excellence.
Their training doesn’t just prepare them for the stage—it prepares them for life. Many EPAC alumni have gone on to college programs and professional opportunities around the country and world, earning scholarships for both artistry and academics. “We train our dancers as if they’re going professional,” says Liz, “but more importantly, we’re shaping strong, driven, and successful individuals with heart.”
A Full-Circle Homecoming
The stage backdrops—breathtaking works of art from Houston Repertory Ballet, where Liz once danced—connect her Idaho studio to her Texas roots. “My mom was the costume mistress for Houston Repertory Ballet for 20 plus,” Liz shares. “She created costumes inspired by these very backdrops. She’s no longer with us, so seeing them on stage feels like bringing her spirit into each performance. It’s truly full circle.”
Experience the Magic
From the joyful party children in the Nutcracker March to the radiant finale in the Land of Sweets, where desserts twirl across the stage, The Nutcracker remains a timeless celebration of imagination, courage, and transformation. At EPAC and IRB, that magic extends beyond the stage, shaping dancers and audiences alike.
So when you hear those first familiar notes of “Dance of the Sugar Plum Fairy,” remember: every step began with a tiny dancer in class, learning to dream.
The Nutcracker runs December 19–21 at Boise State University’s Special Events Center.
For those inspired by the magic, enrollment for new EPAC dancers — from baby mice to future Sugar Plums — is always open. Visit Eagle Performing Arts Center to learn more.
Photography by Megan Thompson, Jenn Morgan and Christopher Mackenthun
