Getting the Most Out of Your Nutcracker Budget

Three studio owners share their know-how and numbers.

Don’t duke it out over prices for your Nutcracker.

Chances are, you either produce an annual Nutcracker each winter or students are constantly begging you to institute one. It’s no small undertaking: A comprehensive Nutcracker means budgeting for costumes, backdrops, insurance, marketing, guest-artist salaries and more. Most studio owners don’t undertake these productions as profit generators; they see them as an investment in community visibility and an opportunity to promote studio loyalty. No matter your studio size or where your production falls on the spectrum of all things Nutcracker, you’re surely always looking for ways to cut costs, raise revenue and brand your winter show to guarantee its status as a community staple. Here, owners of three studios of varying sizes and locations share their tricks of the Nutcracker trade.


For her annual Nutcracker production, Nicole Benson, owner of the 150-student Benson Academy of Dance, Inc., in Ocala, Florida, turns to the Marion Ballet Theatre that her mother, Jeanne Benson Smith, founded as the studio’s resident company more than 30 years ago. As a nonprofit, MBT qualifies for state and community grants and private donations, which cover most of the production costs. (Nicole, who took over the studio after her mother died, was also appointed artistic director of MBT by the nonprofit’s board of directors.) Benson charges $25 per dancer for auditions, which are also open to the community. Dancers who make it into MBT also pay a $50 membership fee.

Ticket Price: $20 (10 shows total)

Overall Budget: $100,000

To Cut Costs

A friend of Benson’s offered to create the ballet’s four backdrops, which means Benson no longer has to fork over a couple thousand dollars each year for scenery.

Several MBT moms went to “tutu school,” where they learned to sew basic classical tutus, in both short and Romantic lengths. Afterward, one mother created all the “Waltz of the Flowers” costumes.

Benson found company dads to volunteer for event security, eliminating that expense.

To Fund the Production

Each child in the ballet has to sell two advertisements for the program magazine.

Last year, Benson’s board of directors raised ticket sales by organizing field trips for three different groups of Marion County schoolchildren to see MBT’s Nutcracker. Benson cut the show to a half-hour for these performances—so they could happen over the course of one day, one right after another, and the dancers wouldn’t miss too much school themselves.

Branding Strategies

Benson gets her ballet company out in the community as often as possible. When the local library put on a fairy-tale festival, Benson sent her Sugar Plum Fairy in costume as a representative. She supplied dancers for book signings when a local author published a book about the ballet.

Selected Budget Items

Ocala Civic Theatre rental, for two weeks: $8,500

Lighting and sound, for design work and tech time: $7,500

Costumes: $3,000 to replace the “Waltz of the Flowers” corps’ and soloists’ outfits last year.

Marketing (local magazine and newspaper advertising, posters and two or three billboards): $7,500

Liability insurance: $3,500

Guest artists (performance stipend, travel, car rental, accommodations): $15,000

Extras Renting a recording studio to re-record Tchaikovsky’s music in a new order each year and program printing


Unlike most Nutcracker productions, studio owner Gina Chiavelli’s ballet only features dancers who audition from among her 600 students at Pinewood School of Dance and the local Dutchess and Putnam County, New York, area. She saves thousands of dollars on guest-artist travel, accommodations and performance stipends, while simultaneously creating a niche of pure local talent for her production, now in its 10th year. The combined performance troupe is known as the Dutchess Dance Theatre. Each child pays an $85 participation fee.

Ticket price: $17 (two shows)

Overall Budget: $33,000

To Cut Costs

For Chiavelli’s first Nutcracker, a studio mom offered to make all the angel, mouse and soldier costumes; Chiavelli, who paid for materials, still uses these costumes today.

Every parent with a child in the ballet has to volunteer, whether ushering, selling concessions, installing backdrops, laying marley, altering costumes, selling tickets or coordinating other volunteers.

To Fund the Production

Each student is asked to sell at least one ad in the program to a local business.

Chiavelli runs a concession stand before the show and during intermission.

Branding Strategies

Tapping into community pride, Chiavelli promotes her show as being entirely homegrown—and without watering down the notoriously difficult choreography.

Selected Budget Items

Local high school theater rental, for four days (two dress rehearsals and two performances): $5,000

Lighting crew of five: $1,500

Costumes, replaced every few years: $800 per soloist tutu

Scenery (three backdrops): $1,500

Marketing (newspapers, PennySaver, posters and e-mail blasts): $5,000

Extras Rehearsal assistants’ salaries and the monthly cost of storage space


Of the 800 students at Lisa Tuska’s Colorado School of Dance in Parker, Colorado, 120 participate in the school’s annual Nutcracker production, each paying an $85 fee. Tuska aims to cover at least two-thirds of her expenses with revenues. She named her production the Nutcracker of Parker, enlisted support from the mayor and put on community performances, making it an essential part of the town’s holiday season.

Ticket Price: $20–25 (six shows)

Overall Budget: $33,000

To Cut Costs

When she learned that the Parker community was building a cultural arts center, Tuska began writing letters of intent to the city from the Nutcracker of Parker, rather than her studio. Because her winter ballet has become a community event endorsed by the mayor, Tuska is able to split her ticket sales with the theater, in lieu of paying rent.

To Fund the Production

Tuska created a “Junior Clara Club,” in which kids ages 4 to 7 pay $25 each to learn a dance, dress up and then do a performance during the mayor’s annual toast to the production.

She joined the chamber of commerce and obtained the mailing list for sponsorships; Tuska targeted these businesses when selling publicity spots in the program.

Branding Strategies

By officially naming her ballet the Nutcracker of Parker, Tuska cemented her studio’s role in the community’s winter holiday activities. She invited the mayor to make an opening toast during the first night of performances. Studio members also perform during the town’s Christmas tree–lighting ceremony.

Selected Budget Items

Props: $2,000–3,000

Backdrop rental (three backdrops): $1,400

Costumes (last year, Tuska replaced the Snow costumes and accounted for alterations): $4,200

Photographer: $900

Extras Awards and ribbons for the cast DT

From top: photo by Dave Schlenker, courtesy of Nicole Benson; by Jeffrey Baker, courtesy of Gina Chiavelli; by Darcy Miccio Pace, courtesy of Lisa Tuska


Introducing and teaching rhythm can seem easy, but in reality it can prove to be a complicated concept—especially for younger dancers to grasp. At Ballet Hispánico's School of Dance in New York City, Los Explorers for 3- to 5-year-olds uses classic salsa and tango music to help kids acquire rhythmic awareness.

Here Rebecca Tsivkin, early childhood programs associate, and Kiri Avelar, associate school director, offer exercises to help youngsters feel the beat.

Keep reading... Show less
Dance Buzz
Panelists (left to right): Emily Nusbaum, Eric Kupers, Judith Smith, Deborah Karp and Suzanna Curtis. Photo by Aiano Nakagawa, courtesy of Luna Dance Institute

This past Saturday, I visited Luna Dance Institute in Berkeley, California, to attend the Dance & Disability Discourse & Panel—a discussion with five artists, educators and researchers about access and equity for disabled students in dance education. Here are three statements from the discussion that I found eye-opening.

Keep reading... Show less
Todd Rosenlieb, left, of The Governor's School for the Arts. Photo by Victor Frailing, courtesy of Todd Rosenlieb

You're setting choreography on your class and most of the students are picking it up. One dancer, though, is having difficulty remembering the steps. You review the material several times, but you fear that this is starting to hold back your more advanced students. Still, you're worried the struggling dancer will be left behind. What is the best way to proceed?

Memorizing choreography is an essential skill for dancers. Fast learners have more time to work on the technique and artistry within a combination, and they are often the first to catch the eyes of directors. Like most skills, learning pace can be improved. Encouraging students to develop their own memorization methods will help them approach choreography with confidence.

Keep reading... Show less
Dancer Health
Neuromuscular expert Deborah Vogel with Jordan Lazan, right. Photo by Jim Lafferty

By strengthening the intrinsic muscles of the foot and ankle, a dancer can help prevent or correct existing pronation. Having strong intrinsic foot muscles keeps the arches aligned, preventing them from dropping inward.

Here, Vogel shares three strengthening exercises to help correct and prevent pronation. She advises dancers to include these in their cross-training regimen.

Mobilize your ankles. (Step 1)

For this ankle mobilization exercise, having a TheraBand wrapped around your ankles puts pressure on your feet to pronate. By resisting that action and keeping your feet centered through the relevé, you're essentially training the ankle where center is.

  • Sitting up straight in a chair, with your feet planted on the floor a few inches apart, tie a TheraBand in a loop around your ankles. You can place a yoga block vertically in between your knees to maintain space between your legs.

Next Page
Photo courtesy of New York Live Arts

Ellen Robbins' modern dance classes for kids and teens are legendary in New York City. Robbins, who has been teaching kids how to dance since the 1970s (and whose pupils included the actresses Claire Danes and Julia Stiles), takes the standard recital model and turns it on its head. Her students—ranging in age from 8 to 18—are the choreographers for the annual concert she produces at esteemed NYC venue New York Live Arts.

If that approach sounds borderline insane to you (we know you're all deep in the throes of recital season right now), consider Robbins' unique teaching philosophy: Improvisation is present in every aspect of class, for every age group. Here are four ways she shapes her youngest dancers into choreographers—almost without their realizing it!

Keep reading... Show less
Teachers & Role Models
Former students of Kelley gather around a cardboard cutout made in his honor at the recent tribute. Photo courtesy of Merritt

Every dancer has a teacher who makes an impression. The kind of impression that makes you want to become a dancer or a teacher in the first place. For Mara Merritt, owner of Merritt Dance Center in Schenectady, NY, and countless others, that teacher was Charles Kelley.

Known as "Chuck" to most, Kelley was born December 4, 1936. He was a master teacher in tap, jazz and acrobatics, who wrote syllabuses for national dance conventions like Dance Masters of America. Growing up in upstate New York, Merritt's parents, both dance teachers, took her into Manhattan every Friday to study with Kelley. First at the old Ed Sullivan Theater and the New York Center of Dance in Times Square, then years later at Broadway Dance Center.

Keep reading... Show less





Get DanceTeacher in your inbox

Win It!