By Nick Mabey.
The English National Ballet have been producing versions of this much-loved Christmas-themed ballet every year since 1950 and I’d be surprised if any of the previous 73 versions of Tchaikovsky’s Nutracker outdo the visual spectacle we were treated to at the Mayflower Theatre last night (29/11/24). In what was billed a world premiere (technically the night before as I was present for the second night of three) the whole show was a feast for the senses. It might be heresy to say it but if anything the music and dancing was outshone by the visual magnificence of the sets and costumes, though only just with both the dancers and orchestra delivering beautiful, modern renditions of this time-honoured classic.
The flaws in Nutcracker are well documented and nothing to do with this particular production. It really is a show of two halves. The first strong on scenery and story telling, the second a plot-free dance extravaganza featuring all Tchaikovsky’s famous pieces culminating of course in The Dance of the Sugar Plum Fairy. What co-choreographers Aaron Watkin and Arielle Smith have chosen to do with this production is really go large with this construct and not try and compromise. So we were treated to a first half of mesmerising scenery and smooth transitions, allowing the narrative to flow seamlessly from Drosselmeyer’s workshop, through the street market, to the Stahlbaum’s house Christmas Eve party and finishing with the ice realm. The use of new technology combined with fantastic stage design and then great choreography created a breathlessness that left the audience needing the interval as much as the performers.
In the second half we were plonked foursquare in the land of sweets and delights and encouraged to sit back and enjoy the quality of the dancing and music. There was no plot development to worry about and we were treated to an unashamedly spectacular exhibition of ballet that is both modern and classical. The ‘dance-off’ between the Sugar Plum Fairy and her partner (apparently called the Cavalier) was a particular high point, but all the routines were of the highest quality, with influences from around the world. The liquorice allsorts (branded Ballet rather than Bassett) dance by a group of very small but highly talented children, was a particular crowd-pleaser.
Hoffman’s originally dark Germanic fairy tale of 1816 was adapted by Dumas (he of Musketeer fame), before being set as a ballet by Tchaikovsky and given a debut at the Marlinsky Theatre in St. Petersburg in 1892. It’s a great example of European artistic collaboration and subsequent production teams have been given license to set where and when they think fit. For this production we found ourselves in Edwardian London. Cheeky chimney sweeps, marching suffragettes, twinkle-eyed children and views of St. Pauls gave more than a nod to Mary Poppins and there was a gentle political undertone among the visual and auditory splendour. We were left in no doubt this was Clara’s story first and foremost, with the eponymous hero playing more of a supporting role.
Although set over a hundred years ago, the dancing itself had a thoroughly modern feel – I think I saw Clara’s father flossing at one point! There was also plenty of humour. I’m not a ballet afficionado and was very impressed that in a show of two hours with literally no words spoken I must have laughed out loud on at least half a dozen occasions – which was testimony to the choreography and acting.
English National Ballet’s production of Nutcracker is showing tonight (30th November) for the last time in Southampton before moving to the company’s performing home of the Coliseum in London for a longer run from 12th December to 12th January. The Coliseum was built in St. Martin’s Lane, Westminster 1904 and so is the perfect venue for this particular production.
Tickets for Nutcracker are on sale at mayflower.org.uk or 02380 711811.
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