Sugarplums meet joysticks in Hobnob’s playfully rewired ‘Nutcracker’
The holidays are a time for returning to stories that feel as comfortable as a favorite sweater.
Hobnob Theatre Company’s latest production, “The Nutcracker: New Game — A Holiday Reboot,” embraces that longing for tradition while gleefully updating it. After all, “The Nutcracker” itself is a remix. Tchaikovsky’s 1892 ballet was adapted from Alexandre Dumas’s 1844 short story, which itself reworked E.T.A. Hoffmann’s 1816 tale “The Nutcracker and the Mouse King.” Hobnob continues that lineage by layering a hefty dose of 1980s, 8-bit video game nostalgia on top of the familiar holiday story.
“The Nutcracker: New Game” is a homegrown musical, created specifically for this company and this community. The show, written by Ken Smith and Deanna Sparrow, is directed by Smith with choreography by Sparrow, and feels tailor-made for Hobnob’s strengths. From its tone to its scale, the production reflects a clear understanding of both its audience and its performers.
That vision is supported by a score that bridges classical reference and contemporary energy. The overture nods knowingly to Tchaikovsky before pivoting into a rock-infused sound driven by a thumping bass line. The band, Jessica Sanzotti (who also serves as musical director), Eddie Trizzino, Karen O’Donnell and Smith himself, delivers the music with polish and energy, anchoring a production that never loses momentum.
The visual world of the show evolves dramatically. It begins simply, with a cozy Christmas party setting, but once Clara (played by Cassidy Spirk) falls asleep on the couch, the production shifts into full spectacle. The set transforms into an 8-bit dreamscape filled with arcade-style décor, strobing lights, fog and glowing colors. References abound as Tetris, Mario, Pac-Man and Q*bert are all cleverly integrated rather than merely name-checked, creating a playful environment that feels immersive without becoming overwhelming.
Choreography favors crowd-pleasing movement over abstraction, keeping the focus on fun rather than technical showboating. Highlights include dance numbers such as the “Glitched Sugar Plum Fairy” which blends classical references with contemporary movement and showcases featured dancers Ellie Jedrzejewski, Palmer Gifford and Spirk. Another crowd favorite is “March,” incorporating martial arts choreography performed by members of Engage Martial Arts, complete with peppermint-stick bo staffs and nunchucks resembling oversized Christmas crackers.
At the center of the story is Clara, played with sincerity and quiet strength by Spirk. This Clara would rather slip away from the party to code on her computer and spend time with her online friends. She feels like an outsider, especially compared to the popular clique led by her brother’s snarky girlfriend Sammie, portrayed with delicious bite by Sarah Dailey.
The show opens with a Christmas party led by an exuberant dad, played with infectious charm by Conleth McVeigh. Sporting a garish Christmas vest, unleashing dad jokes and urging everyone to sing, McVeigh turns chaos into cheer, helped considerably by his genuinely lovely voice. A standout early company number, “Christmas Eve,” cleverly weaves snippets of classic holiday songs with sung exposition, efficiently setting the mood while earning laughs and recognition.
Harry, played by Cory J. Pfahl, arrives in cool uncle fashion, wearing a jacket with a guitar slung over his back. A wealthy inventor, he gifts Clara a retro video game he designed himself. Pfahl shows impressive range, unleashing his inner rock star in “Everyone Gets a Gift” and later, as the Nutcracker, channeling full Vanilla Ice energy in the delightfully absurd “Fix the Glitch.”
Grant Kingston plays Fitz, Clara’s brother, with easygoing warmth. Fitz offers Clara gentle advice about finding balance beyond her online world, even as he navigates his relationship with Sammie. Several actors double memorably in the dream world: Casey Hoolahan is warm and grounded as Clara’s suburban mom, then radiant as the fairy guide inside the game. David McGrogan’s Italian chef becomes a Mario-esque plumber, while Sarah Dailey reemerges as the Rat Queen, draped in velvet and a cape. Dailey commands the stage in “Take the L,” her powerful vocals clearly outlining the stakes: fail to fix the glitch, and Clara is trapped forever.
Spirk’s solo, “Being Null,” is one of the show’s most effective character moments. Built around programming metaphors, the song begins contemplative before soaring, giving Clara emotional depth beyond the clever concept.
In the style of the classic, Clara awakens to Christmas morning having solved both the game’s glitch and her own internal roadblocks, ready to enjoy presents and family. The joyous finale feels like a fitting metaphor for the show. With “The Nutcracker: New Game,” Hobnob offers a generous, handmade holiday gift rooted in local talent and imagination.
“The Nutcracker: New Game” runs 70 minutes without an intermission, and completes its run with a show at 7:30 p.m. on Dec. 20, and one at 2:30 p.m. Dec. 21, at Butler County Community College’s Succop Theater. Tickets are available at hobnobtheatre.com.
