"And finally, the modern adaptations. Same core story, same characters, but with more emphasis on Clara's transformation. Instead of meeting the Sugarplum Fairy at the end, Clara herself is revealed as the Sugarplum Princess..."
Callahan lets the words hang in the air for a moment before continuing, "That interpretation puts the weight of the ending on her, and gives her a more dramatic, conclusive arc. If you've seenBarbie in the Nutcracker,you know the version I mean."
She glances down at the watch strapped to her wrist. "All right. You've got forty-five minutes. Read through the packet, talk it out, argue if you must—but by the end of class, I expect one decision. That's the version we'll adapt, and auditions on Friday will be based on it."
We form into a circle, like some kind of cult about to summon theater gods. Everyone's got their packet out, flipping pages, already arguing about which version issuperior.
And shockingly?
People are actually making good points. Even the quiet kids who usually just vibe in the back. Callahan leans against the mirror wall, arms crossed, doing that slow professor nod likeyes, my children, thrive.
Of course, there's always drama in drama class. Two people nearly go at it over Hoffmann's original—one says the darkversion willwowthe audience, the other says nobody wants creepy nightmare fuel at a holiday showcase.
I was ready to grab popcorn. But they chill out after a minute, and the debate rolls on.
It goes like this:
Hoffmann's original = edgy, cool, but maybe a little too niche.
Dumas's retelling = safe, wholesome, family vibes, but also... boring. (Sorry, Dumas. Not sorry.)
Modern adaptation = basically has everything. Big emotions, a perfect dramatic ending.
And that last one? Yeah. Everyone lights up at the thought. It just feels bigger. Better. Something the audience will actually remember.
By the time our forty-five minutes are almost up, the choice is obvious. And because I've been practically vibrating in my seat like a Nutcracker-obsessed chihuahua, of course I'm the one who blurts out,"I'll tell her!"
Subtlety? Never met her.
I clear my throat, and suddenly twenty-six heads are staring at me like I've been elected President ofTheaterland. Great. Love that for me.
"So... yeah," I start, sitting up a little straighter. "We went through everything and decided the modern adaptation makes the most sense for us. That's the one with impact. The whole story feels... bigger. More dramatic. More memorable."
I glance around the circle, making sure people are with me. "And as actors, it gives us so much more to work with. Dialogue. Emotion. A real payoff." I let that hang for a beat before continuing.
"It's also the version that actually hooks an audience. Especially with that twist at the end... when Clara and the Sugarplum Princess turn out to be the same."
Professor Callahan's smile widens, slow and approving. "Excellent," she says, clapping her hands together once. "I happen to like the modern version too."
She scans the circle. "Now, before we leave today, I need to know who's interested inwritingthe script. We'll need a team to start shaping this adaptation into something we can actually put on its feet."
Lucy's hand shoots up first, no surprise there. Tammie follows, then Katie.
"Good," Callahan says, nodding." The three of you can start brainstorming together. Build a compelling script—something that does justice to this choice—and I want to see a draft outline on my desk by Friday."
She tucks her folder under her arm, already moving into the next order of business. "For those of you planning toauditionfor the lead roles—Clara, the Sugar Plum Princess, and the Nutcracker Prince—I'll be posting a sign-up sheet outside my office later today. If you're interested, put your name down."
"I'll also provide each of you with an audition piece. It won't be the final script, but it will reflect the core traits of the characters. That's what I'll use to judge whether or not you're the right fit."
My pulse kicks up like I've had three espressos. I can't wait.
This is it—the kind of role you dream about landing. I've done plays before, plenty of them.
Back at NYU, I threw myself into every production I could get my hands on, and I'm proud of all of them.
Not to brag (okay, maybe a little), but I've always been able to slip into a character and give her justice. Acting feels like second nature to me.
But this? The Nutcracker? Clara—theSugarplum Princess? This one hits different.
