Review: THE NUTCRACKER at Artscape Opera House Is an Enchanting, Top-Class Production

THE NUTCRACKER, one of the world's most celebrated ballets, needs little introduction. As a Christmas-time favourite, it has come to be synonymous with the festive season. Now, on the 130th anniversary of the original production's premier, producer Veronica Paeper and Cape Town City Ballet deliver an exquisite, magical rendition that cannot be missed.

The opening scene, the Christmas Eve party at the Stahlbraums, is wonderous - with so many dancers and so much activity onstage which make it a joy to watch; my eyes continuously darted all over lest I miss something. Some of my highlights from this scene include the little toy soldiers and toy angels that are brought onto stage in a giant box (the soldiers) and egg (the angels). These young dancers look to be between the ages of 5 and 7 (I am estimating here) and they are absolutely adorable. These little dancers all take their roles very seriously and commit fully to their characterisation - I hope that they know that the laughter which they elicit from the audience results purely from their cuteness and their excellent comedic timing and not from anything negative. All round, the child-dancers are excellent. I was only sorry that they were not able to attend the bows at the end (I imagine because the curtain call is too late in the evening and they are already home for bedtime).

This production is a lot of fun and the dancers are excellent at creating comedy - which they achieve through their facial expressions and physicality. For example, Clara and Fritz' grandparents manage to dance deftly while simultaneously embodying the physicality of senior citizens through, for example, their shuffling about the stage. They are delightful to watch and they do not let the façade drop regarding their characters' ages.

THE NUTCRACKER is huge in scale with 120 children dancing in the production (40 per show) and with 36 adult dancers, the principals of which also alternate. On opening night, I had the pleasure of watching Kirstél Paterson as the Sugar Plum Fairy. She dances en pointe for virtually her entire performance and her pirouettes are flawless. She moves fluidly, lightly and with conviction. Her pas de deux with Lêusson Muniz exhibit some of the most mesmerising dances of the show. Likewise, Muniz is an incredible Nutcracker. I was particularly impressed by the change in his physicality from portraying the stiff Nutcracker made of wood to that of the Nutcracker Prince (in human form), which showcases his versatility. Both Paterson and Muniz are superb.

All the principals I watched are exceptional. Marcel Meyer as Drosselmeyer commands the stage (His elegant cloak certainly helps). He is a natural onstage and as graceful as he is striking. Indeed, he is a wonderful dancer to observe and adds much of the magic (both literally and figuratively) to this show.

Lila Numanoglu makes a wonderful Clara. Her facial expressions are as beautiful as her dancing and she manages to convey her delight even when she is merely sitting onstage, when, while an audience member, like us, she is entertained and given gifts by the subjects of the Land of Treats.

Hannah Ward as the Snow Queen is also excellent and her pointe technique looks effortless. During her pas de deux with the Nutcracker, a daring part of the choreography leaves her being caught by Muniz very close to the ground - this is perfectly executed by them both and left members of the audience audibly gasping.

Jannes Emmerich is also delightful and makes for a mischievous Fritz. I also really loved the mice (those costumes!) and the Mice King. The battle of the mice and the toys is so much fun to watch, especially when one of the mice ends up injured on a stretcher and is tended to by mice-nurses. Many other dancers deserve to be commended - the cast is spectacular.

Every element in this show combines to create what feels like one lush dream sequence. The lighting, set, orchestra, costumes and, of course, the technique of the dancers result in an experience that feels otherworldly. What a fantastical escape from reality!

Peter Cazalet's set design is grand and rich in colour. The giant Christmas tree in the centre of the stage is one of my favourite elements and the effect is stunning when the tree extends (until it almost reaches the top of the proscenium) to show Clara shrinking to the size of the toys, mice and Nutcracker. Every scene is astonishing in terms of set but I particularly loved the forest scenes in the snow, complete with falling snowflakes that shower upon the dances. What a wonderland! I also adored the golden chamber in the Land of Treats with stunning chandeliers.

On that, the lighting is gorgeous - at times soft and subtle and at other times, strong and gold. Wilhelm Disbergen's lighting really helps to set the tone for this ballet and made me feel like I was in the middle of a dream - which, essentially, I was. Yet another noteworthy element is the costume design by Cazalet. The entire production is a feast for the eyes but my favourite costumes are those of the Snow Queen, the snowflakes, icicles and snowdrops which are enchanting and are perfect for the winter wonderland in which they appear. Cazalet's costumes are a triumph, and the set and wardrobe complement each other for the entirety of the show with the help of consultant, Michael Mitchell.

I will forever rave about the Cape Town Philharmonic Orchestra, the members of which, deftly execute Tchaikovsky's magnificent music from start to finish. The Orchestra, conducted by Brandon Phillips, accompanies the dancers at select performances while the remaining shows use pre-recorded music.

This production of THE NUTCRACKER is beautiful in every way and Paeper can be proud of the piece she has brought to life. With such a dynamic cast, varied in ages; an extravaganza of colour in the set, costumes and lighting; and impeccable dance technique, this is an unmissable production for all ages (from age 4 that is!).

Photo credit: Helena Fagan

THE NUTCRACKER runs at the Artscape Opera House from 7 to 23 December 2022. Bookings can be made via Artscape Dial-A-Seat at 021 421 7695 or through Computicket and range from R175 to R495.

To post a comment, you must register and login.