Get ready to be enchanted! English National Ballet's Nutcracker is back, and it's even more dazzling than before! This isn't just a show; it's a holiday tradition that promises to whisk you away to a world of wonder. After a year to settle in, the production is proving to be a true gem, poised to delight audiences for years to come. A successful Nutcracker is vital for the English National Ballet's financial stability.
The magic truly comes alive thanks to Dick Bird's stunning sets and costumes. Imagine an Edwardian London street scene, so detailed it feels like stepping into a beautiful painting. Then, prepare to be transported to the vibrant Land of Sweets and Delights, bursting with color and exotic treats. However, the icy atmosphere of the Ice Realm, with its oppressive hanging icicles, feels somewhat out of sync with the overall magical feel.
The choreography is a collaborative effort. Aaron Watkin, the ENB's director, handles the classical set pieces, which are generally attractive. But here's where it gets controversial... some might wish he'd stuck to the original Ivanov choreography for the Sugar Plum and her prince's climactic pas de deux. Arielle Smith, with her contemporary dance background, focuses on storytelling, bringing a fresh perspective to Clara's coming-of-age journey.
The sets and costumes are a real treat, injecting a sense of fun and excitement into the performance. Ivana Bueno shines as the adolescent Clara, brimming with youthful energy, while Paulo Rodrigues makes a memorable debut as the Nutcracker Prince. Anna Nevzorova is a formidable Ice Queen. Sangeun Lee, as both the Sugar Plum Fairy and Clara's mother, delivers a performance of pure luxury, though her partner, Gareth Haw, could be more powerful.
The story revolves around Clara's magical Christmas Eve adventure, orchestrated by the eccentric sorcerer Drosselmeyer, who owns a sweet shop and has created the enchanted Nutcracker doll. And this is the part most people miss... Drosselmeyer's master plan isn't entirely clear, as his role feels somewhat underdeveloped. Junor Souza's portrayal of Drosselmeyer leans more towards manic than majestic, which might not be to everyone's taste.
The music, conducted by Maria Seletskaja, is performed at Tchaikovsky's intended tempo, which keeps everyone on their toes.
Nutcracker at the London Coliseum runs until January 11th.
What do you think of the new Nutcracker? Do you agree with the review's assessment of the choreography and the character of Drosselmeyer? Share your thoughts in the comments below!
