Eight Ballets That Aren't The Nutcracker (And Are Worth the Road Trip)
Photo: Ministry of Information official photographer, Public domain, via Wikimedia Commons
Every December, millions of Americans get their annual dose of ballet courtesy of a certain Tchaikovsky classic. And look, we love The Nutcracker as much as anyone — but if that's the only ballet on your family's calendar, you're missing out on some of the most thrilling work being staged in this country right now.
Here are eight ballets flying under the mainstream radar that deserve a spot on your watchlist. Bonus: several of them feature music your dancer already knows from class.
1. Serenade (Balanchine)
The first ballet George Balanchine made on American soil, set to Tchaikovsky's Serenade for Strings. There's no plot — just thirty-something dancers moving in patterns so beautiful that audiences regularly gasp. The opening, with dancers arms raised to the sky as the lights come up, is one of the most iconic moments in American ballet.
Why go: It's ballet distilled to its purest form, and companies perform it constantly. Your dancer will recognize the vocabulary from class — this is what those tendus become.
2. Theme and Variations (Balanchine)
Set to music by Tchaikovsky (him again — the man understood dancers), this ballet is a fireworks display of classical technique, culminating in a grand pas de deux that leaves audiences breathless. It looks like a Petipa classic but was choreographed in 1947.
Why go: If your student has ever asked "when will I ever use fouetté turns?" — this is the answer.
3. Within the Golden Hour (Christopher Wheeldon)
A contemporary ballet bathed in warm light and set to music by Ezio Bosso and Antonio Vivaldi. It's dreamlike, flowing, and unlike anything from the classical repertoire.
Why go: It shows students that ballet is a living art form, not a museum piece.
4. The Four Temperaments (Balanchine)
Inspired by the medieval theory that human personality flows from four "humors" — melancholic, sanguine, phlegmatic, choleric — this ballet pairs a Stravinsky score with angular, striking movement. It's ballet with an edge.
Why go: It's proof that black leotards and bare feet can be as dramatic as any tutu.
5. Cinderella (various versions)
Yes, the story is familiar — but choreographers from Frederick Ashton to Alexei Ratmansky have transformed this fairy tale into works of genuine wit and wonder. Ashton's version, with its jester-like stepsisters, is one of the funniest ballets ever made.
Why go: A perfect first full-length for kids who think ballet is all serious faces.
6. In the Middle, Somewhat Elevated (William Forsythe)
Set to a driving electronic score, this landmark of contemporary ballet is sharp, angular, and fiercely modern. It's been performed by companies worldwide since 1987 and still feels dangerous.
Why go: For the teenager in your house who claims ballet is boring. This one changes minds.
7. Giselle (classical, but lesser-seen)
Everyone knows Swan Lake and The Nutcracker, but Giselle — the story of a village girl betrayed, driven mad, and transformed into a spirit of the night — is arguably the most emotionally devastating ballet in the repertoire. The second act, with its ghostly corps de ballet in veils, is haunting.
Why go: It's the role dancers dream about. Seeing it live gives all those studio hours a destination.
8. Wheels Up (or a regional commission)
Here's the wildcard: check what your local company is premiering this season. Regional companies across the country — from Boise to Nashville to Sarasota — are commissioning new work from rising choreographers, and these world premieres often feature the most exciting dancing on the program.
Why go: You might see the next big thing before anyone else does. Plus, tickets are usually affordable.
Make It a Field Trip
You don't need a trip to New York or San Francisco to see world-class ballet. Regional companies are staging ambitious programming, and a Saturday matinee makes a fantastic outing — whether you're a studio family building your dancer's repertoire knowledge or an adult student looking for inspiration for your own classes.
Go see something unfamiliar this season. Worst case, you're out an afternoon. Best case, you and your dancer discover a new favorite — and suddenly those recital variations look like the opening chapter, not the whole story.
