We are delighted to share the story behind the new scenic backdrops for South Carolina Ballet’s Nutcracker. First unveiled during our 2023 production, the scenery was made possible through the generous support of McWhirter, Bellinger & Associates and the South Carolina Arts Commission.
The backdrops represent the culmination of a multi-year process of financial planning, artistic development, and specialized manufacturing. They replaced scenery purchased 36 years earlier and were designed to offer even greater durability than their predecessors.
Working with Adirondack Studios in Argyle, New York, and Enhance a Colour Corporation in Danbury, Connecticut, CEO and Artistic Director William Starrett brought his artistic vision for the production to life. The process involved artists, designers, technicians, administrators, board members, and supporters, all working together to create an entirely new visual world for the ballet.
Planning a Major Investment
Careful financial planning was necessary before the company could undertake a capital project of this scale. Through the efforts of our CEO, CFO, Treasurer, and Board of Directors, South Carolina Ballet developed a plan that included important funding from the South Carolina Arts Commission and a significant gift from Pat and Garland McWhirter and McWhirter, Bellinger & Associates.
With funding in place, William began conceptualizing the appearance and atmosphere of each scene. He wanted the new scenery to reflect the production’s Southern roots through Georgian and Greek Revival architectural elements. He also wanted the designs to create greater visual continuity throughout Clara’s journey.
From Drawings to Full-Scale Scenery
South Carolina Ballet collaborated with artists Tara Cook and Tory Shortway of Adirondack Studios to translate William’s design brief into a complete scenic concept.
The artists began with black-and-white drawings. From there, the team refined the scale, placement of architectural elements, composition, and coloration of each scene. Adirondack Studios then produced scaled color renderings, which continued to evolve until every detail had been approved.
The project next moved to Enhance a Colour Corporation, where the first proofs were printed using the same materials selected for the finished scrim and backdrops. Color, shading, contrast, and detail were carefully adjusted before the full-scale scenery entered production.
A Complete Scenic Environment
The new set includes a scrim depicting the exterior of the Stahlbaum residence. A scrim is a translucent, net-like theatrical material that can be transformed through lighting. It may appear as a clearly defined scene or seem to fade away, revealing the action behind it.
The new scrim was especially important because the company’s previous one had completely disintegrated after more than 30 years of performances and touring.
The traditional drops are printed on a highly durable, muslin-like fabric. Unique legs and borders were also created specifically for South Carolina Ballet’s production, making the entire scenic environment original to the company.
In total, the scenery includes the exterior scrim of the Stahlbaum mansion; four drops depicting the Stahlbaum parlor, Paradise, the Snow scene, and the Land of the Sweets; three sets of legs and borders for Act I; four sets for the Snow scene; and four sets for the Land of the Sweets.
Each component was created by professional artists and reproduced using contemporary printing techniques that preserve painterly details, including visible brushwork, shading, and intricate architectural elements. The backdrops were printed with dye-sublimation inks and designed so they can be adapted to theaters of varying sizes, an essential feature for a company that performs throughout South Carolina and beyond.
Details That Connect the Story
The colors of the scenery were carefully coordinated with the production’s costumes. The vibrant pink of the Sugar Plum Fairy’s tutu, for example, appears throughout the Land of the Sweets. To achieve an exact match, fabric swatches from the tutu were sent directly to the artists at Adirondack Studios.
Audiences may also notice several repeating visual motifs. The trees visible through the windows of the Stahlbaum parlor reappear in the Snow scene. The painting above the parlor fireplace is transformed into the castle seen in the Land of the Sweets. These details connect the different settings and give the production a greater sense of visual continuity.
The gates of Paradise were inspired by those at the Palace of Versailles, adding another layer of architectural richness to the production.
A Collaborative Achievement
This project was a tremendous undertaking involving many people. We are particularly grateful for the contributions of Marketing Director Stephen Manion, whose training in fine arts became an integral part of the design and development process.
Above all, we extend our deepest gratitude to Pat and Garland McWhirter and everyone at McWhirter, Bellinger & Associates. Their generosity allowed this ambitious project to become a reality and provided an extraordinary gift for generations of South Carolina Ballet audiences.
A Renewed Nutcracker
The new backdrops are only one part of the production’s continued transformation. Audiences will also see a new stairwell that more accurately reflects the architecture of the Stahlbaum residence. Mother Ginger and the Bonbons have received updated designs, while new party parent dresses include details inspired by the Waltz of the Flowers.
Additional updates include redesigned Soldier costumes, new Candy Cane tutus, and many other refinements throughout the production.
Together with the artistry of South Carolina Ballet’s dancers, these scenic and costume updates have made Nutcracker more vivid, cohesive, and visually rich than ever before. It is our distinct pleasure to share William Starrett’s vision with audiences each holiday season.
Join us for South Carolina Ballet’s Nutcracker and discover why it simply is not Christmas until you have experienced this beloved production.
