Oh, The Nutcracker, that predictable holiday tradition that bombards our senses every year is almost over. Dance lovers who can’t get enough of Tchaikovsky’s classic ballet still have dozens of options.

San Diego’s three professional troupes - City Ballet of San Diego, San Diego Ballet, and California Ballet offer big productions of the The Nutcracker.

They all have ballet schools and specialize in storybook ballets, usually with just two or three-day runs. None of their ballets have caused a riot or scandal (remember the Rite of Spring?) which is kind of a shame. Ballet used to be so bold and innovative.

For The Nutcracker, they generally stick with tradition and spectacle because they must; people like it. Along with the Christmas tree, everything gets bigger; the number of shows, casts, sets, costumes and ticket prices. And so are the risks. With some luck, tickets sales from the Nut can fund an entire year of other productions.

While San Diego’s big three have similar financial goals, their virtues and aesthetics are wildly different. Unless you are a real “bun-head” or know someone in the production, a child or a friend perhaps, you might not be aware of the distinctions or care. Most people can’t even keep the company names straight!

But before you fork out anywhere from $20 to $80 per ticket, consider my weekend marathon - three Nutcrackers in three days.

Friday night: City Ballet of San Diego at the Spreckels Theatre

There was great anticipation as the orchestra played the introduction before the curtain opened. An opaque scrim separated the scenes. Sets included beautifully painted backgrounds and lots of falling snow (San Diego Opera Scenic Studios.) Costumes included tailored Victorian styles and glittering tutus (David Heuvel). The young City Ballet Orchestra again sounded better than ever and offered the live element that Tchaikovsky’s masterful score demands.

City Ballet relies more on dancing and acting than cute effects. In scene I, the waltz sequences were engaging and not just simplified poses. There were children in the program, but not very many, and they were alert movers who stayed in tempo and character.

Directors Steven and Elizabeth Wistrich cast adults to portray the young girl Clara and her nutcracker prince, as many choreographers have done since the ballet opened in 1892.

A petite Ariana Samuelsson in pink was convincing as the young girl Clara who fought with her bratty brother and still played with dolls. She could also leap onto the shoulder of her handsome prince, danced by Girardo Gil; he let her tumble down to the floor and caught her just in time. That’s a fish dive, not kid stuff.

Gil was also excellent when recounting their adventures through mime, a ballet skill that is harder than it looks. When the two were seated in the Kingdom of Sweets, Gil gave other dancers a slight nod and wave; it was a terrific gesture that exuded royal confidence and felt appropriate.

Erica Alvarado’s Sugar Plum Fairy was technically flawless and fearless in lifts. This is her first season with the company. She has found chemistry with Geoff Gonzalez, her Cavalier. As Gonzalez lifted her high over his head, she arced back farther than what seemed physically possible. This is an exciting couple to watch.

Gonzalez also portrayed Herr Stahlbam, Clara’s father and host of the party. Normally a small role, Gonzalez added just enough personality with his body and facial expressions. He herded bratty kids, adjusted his glasses, and sneaked a few shots of schnapps. Kevin Engle returned as the weird yet harmless Drosselmeyer, the toymaker who brings toys and sprinkles magic dust.

City Ballet is a small company and the cast often has to double up. On Friday night, Gil joined Trystan Loucado in the Russian section for dueling spins and leaps. Loucado nearly spiraled off axis, and he deserves credit for taking a risk, especially in this manly section. Still, the stage was a bit empty. One has to wonder what they could do with a few more comrades.

The historic Spreckels Theatre is City Ballet’s permanent home and the perfect venue for The Nutcracker. Park in the underground lot and walk up the inner staircase to the lobby. You don’t have to worry about a coat.

City Ballet of San Diego’s The Nutcracker concludes Dec. 21, 2011. The company’s 19^thseason continues with Bravo! Balanchine,Mar. 2-4, 2012 at Spreckels Theatre.

Saturday Matinee: San Diego Ballet at Mandeville, UCSD

Matinees are designed for families and young children. Oodles of them made their way through the maze of parking lots and under the Sun Goddess statue to the cramped lobby and seats with a most confusing number system and trip hazards.

The program followed two other productions at the Birch Theatre with the Grossmont College Orchestra and a tour to Billings, Montana. This production offered a recording that sounded hollow and often synthesized. A chorus of children filled in their own little “ahhhhs” and varied tempos.

Amazingly, the cast was energized, and there was more than enough slap-stick humor. In the party scene, a gentleman slapped the maid on her rump. Boys chased screaming little girls with rats, albeit they were stuffed toys. I was secretly wishing they were real.

I also wished the troupe would cut or trim the “geezer dance,” a sequence for a wobbly couple, two drunken old farts oddly reminiscent of the Carol Burnett show.

Matt Carney asDr. Stahlbaum, the dad, carried the first act with a dryly humorous approach. When scolding his son for the third time for acting up in front of guests, he simply pointed his finger to the side as if to say, “Okay buddy, that’s it.”

San Diego Ballet’s Nutcracker is more theatrical than most, thanks to co-director Javier Velasco whose background is the theater first. For years he’s taken the role of Drosselmeyer and given it a creepy style. This time he seemed especially Vampire-like and turned up in every scene like a bad penny.

He twirled his cape and released mechanical dolls, a masked ballerina and soldier, very well-danced by Stephanie Maiorano and Fernando Martin­-Gullans.

Martin-Gullan’s technique and style was stunning for such a young performer. He gripped his rifle and cut the space in sharp leaps like a pro. He also portrayed the nephew/prince later that night, a rotating role with Gabe Krut. Robbie Downey as Clara shared the role with Sabina Schaffer.

The Fight Scene included rats of “unusual size” and of every rank – king, queen, baby, junior, senior – and again Velasco injected more theater into the action. After the nutcracker killed the King Rat, rat minions dragged him away as his grieving Queen and diapered babies sobbed.

As this was the end of the troupe’s run, snow was in short supply, barely a dusting in the snow finale. Rachel Sebastian was a lean and limber Snow Queen. She also contorted like no human should in the Arabian section.

Act two also brought the predictable parade of adorable children led by Abby Avery, the Sugar Plum Fairy. Her Cavalier, Maxim Tchernychev, was admirable and charming in a fatherly sort of way. A smooth and understated Dewdrop (Stephanie Maiorano) led a slew of young flowers in the waltz.

Evgeny Korsakov’s authentic jumps in the Russian Dance drew cheers that were more than deserved, but he was a very lonely Cossack. Could he invite some classmates from Russia to join him for future productions? The kids dressed in bear suits looking on didn’t add much, Okay, technically they’re listed as Gummy bears. But this audience didn’t care.

The biggest cheers were for the galloping tots that dashed from under Mother Ginger’s skirt and those dressed as little lost sheep. That sweet fluff and other costumes were sewn, cleaned, and mended by volunteers.

Sunday Night: California Ballet at the Civic Theatre

As always, director Maxine Mahon welcomed an eager crowd, “Good evening boys and girls, ladies and gentlemen." She proudly announced that California Ballet has been around for 44 years. It’s the oldest and biggest production, with a budget of close to $485,000 which affords the San Diego Symphony to accompany the production.

Having a real symphony in the pit is a big bonus for this company. Granted one can’t really see the instruments, but the difference between live and recorded music is huge. Tchaikovsky’s score wafted out of the pit, and the audience had a moment to take it all in before the curtain opened.That is an important part of the ballet experience.

California Ballet’s Nutcracker has changed very little over the years. Whether that’s tradition or trouble is a matter of opinion. The toymaker Drosselmeyer donned his bad wig and entertained the kiddies with magic tricks. Raggedy Ann and Andy dolls came to life, but everyone knew that Andy was really a girl under the costume. Couldn’t they find an athletic young man to dance it?

Hugo Carreon returned as the stooped-over grandfather who danced in a dizzy circle until rescued. Without question the most glaring error was Chinese Tea. It was still a yawn rather than a dance, the same old pointing fingers, cardboard teapot, and poor timing.The stiff black wigs and tunics were almost as hideous as the washed out pink with seaweed green trim for some otherwiselovely women.

The Russian section featured acrobatic stunts and shouts. Mother Ginger drew just as many cheers when she released the tiniest children dressed in red unitards.

Jennie Barton was a standout in the Merlitons, a polished dance of soft pointe work while holding a pan flute. A lovely weave of dancers crossing each other and the orchestra were memorable in Waltz of the Flowers.

Nelie Sithong, a tiny woman in real life, was a graceful Dewdrop who moved on silent feet.

Vincent Padilla as the nephew/prince was a suitable partner for Clara, danced by an expressive Jordan Bialock. But where did her handsome partner go? She sat on a cold candy throne all by herself for too long.

Chie Kudo as the Sugarplum Fairy, and Vitaliy Nechay as the Cavalier, were a cautious couple and for good reason. Timing was off, spins were off axis. One of the lifts into a dive was scary. In her solo with the famed Celesta music, Kudo was technically spot on. Her pique turns were clean. A woman seated next to me had her eyes closed. I am convinced she was savoring the live music - Tchaikovsky’s fantastic score.

California Ballet’s The Nutcracker continues through Dec. 23, 2011 at the Civic Theater. The company’s 44^th season continues with Cinderella, May 5 & 6, 2013.