Christmas season is definitely upon London, with decorative lights on the streets, people rushing to buy presents, chilly mornings and, ballet-wise, the possibility of finishing off the day with The Royal Ballet’s Nutcracker now in its 25th season.
Sir Peter Wright’s staging sticks to the original Hoffmann story where Drosselmeyer’s nephew Hans-Peter has been cursed and turned into a Nutcracker doll by the revengeful Mouse King. The spell can only be broken if he defeats the royal rodent while also capturing a young girl’s heart. Drosselmeyer sees in the Stahlbaum’s daughter Clara the potential to be just that girl. Given the heartwarming plot this Nutcracker could easily slip up into kid-friendly Disney territory but, thanks to the dark German Romantic undertones, it also scores with grown ups.
Act I takes place at the Stahlbaum home where guests and family are gathered for a Christmas party. Drosselmeyer (a spot-on Will Tuckett) arrives with his deep turquoise cape, gadgets and plenty of magic tricks including giant dancing dolls and the gift of a Nutcracker doll for Clara. Blink and you will miss lovely details such as Gary Avis‘s very funny rheumatic Captain trying to prove “he’s still got it” in the elders dance and the Marzipan cake which will become the sugar-coated stage for the Act II divertissements. The only letdown here is Drosselmeyer’s mending of the Nutcracker doll after it is broken by Clara’s brother as he seems to repair it manually instead of magically as one would expect.
In her debut as Clara, Leanne Cope captures all the freshness of a teenager and her wonder at the supernatural events which unfold before her eyes. Her dancing too was charming despite a couple of early mishaps, presumably due to a slippery floor at the Stahlbaum home. Paul Kay showed beautiful lines and crisp dancing as Hans-Peter, with plenty of energy in the battle with the Mouse King.
In Act II the Stahlbaum home and the Land of Snow give way to the Land of Sweets (Comfiturembourg). Here the often disconnected sequence of divertissements is cleverly linked to the story with the full participation of Clara and Hans-Peter and a mime scene where they explain their battle with the Mouse King to their hosts Prince Coqueluche and The Sugar Plum Fairy (Steven McRae and Roberta Marquez).
Steven has been filled with praise on opening night and deservedly so. Not only does he ace his variation, he also shows regal poise and gentlemanlike manners, taking a step back to let his ballerina shine. Roberta Marquez only keeps getting better (the McRae effect?). Her Sugar Plum Fairy is lovely and even if the tricky gargouillades do not yet fully come through she compensates with phrasing, accentuating gestures such as her delight at meeting her partner, full of rapport with McRae in the pas de deux. Here, both Roberta and Steven give us more than is arguably needed from a short role that calls for no more than solid technique and a beautiful display of line, where all the emotional punch is already contained in Tchaikovsky’s score. Elsewhere, Yuhui Choe was the most beautiful Rose Fairy and her escorts, led by Brian Maloney and Johannes Stepanek were flawless, the Russian dance with Ludovic Ondiviela and Kevin Emerton another highlight.
The closing sequence has Clara back in the real world wondering whether it was all just a dream. Soon a chance meeting with Hans-Peter on the street where she lives suggests quite the contrary. And while the final reunion between Drosselmeyer and Hans-Peter might bring a tear to one’s eye, once the curtain is down over wintry Nuremberg the audience is all smiles. Let Herr Drosselmeyer keep fulfilling his purpose for many years to come.