Review: NUTCRACKER, London Coliseum

The beautiful story of Clara and her enchanted Nutcracker doll is as much a part of Christmas as carols and novelty jumpers. The pair discover a magical world where they battle with the Mouse King and take an enchanted hot air balloon rides over a snow-covered London to the land of the Sugar Plum Fairy; it is enough to make the hardest of hearts feel a little softer.

Last year's production of Nutcracker at the London Coliseum saw another revival of the Wayne Eagling version, which was a little muddled and not quite magical enough. With this year's production of Nutcracker at the Royal Opera House garnering fantastic reviews, the pressure is on Artistic Director Tamara Rojo to update and improve on last year's show.

Fortunately, this year's production feels much fresher and sparkles with elegance and energy. One big criticism last year was that the defeat of the Mouse King was impossible to appreciate, as all he did was scurry behind a curtain. This year, it is clear that there is victory of good over evil and the darker elements of the story are lightened. The slightly muddy lighting is lifted and overall, the whole production feels suitably magical.

Some confusing elements remain. As this will be many audience members first experience of ballet, it is unfortunate that parts of Eagling's version remain as puzzling as ever. Clara imagines herself as an adult travelling to the land of snow with her handsome suitor, who inexplicably changes between Nephew and Nutcracker. Clara also transforms into the Sugar Plum Fairy and the Nephew into her Prince. It is bewildering, especially for those who may not know the story.

There is a rotating cast throughout the run, but press night of saw Shiori Kase, Principal of the English National Ballet since 2016, take on the role of Clara. She is a vibrant and very accomplished dancer with great elegance and crispness in her poise and balance. As the Sugar Plum Fairy she appears to float with effortless grace and energy.

Joseph Caley joined the English National Ballet as Principal only in August and is yet another exceptional dancer to have come out of Hull. He dances the role of Nephew here and is natural and effortless in his leaping, although he could probably do with another inch or two in height as partner to Kase.

After playing Drosselmeyer last year, James Streeter has a ball playing Mouse King, he leaps, twitches and bounces with effortless ease, threatening without being frightening in his brilliantly creepy red-eyed costume.

Sophia Mucha and Emile Gooding are charming as Clara and Freddie as children. Gooding in particular has great energy as the mischievous brother.

The Russian and Arabian dancers are particularly impressive, with Fabian Reimar excelling as the turbaned Arab.

The ensemble work is stunning; The Waltz of the Snowflakes is executed with incredible grace and elegant delicacy. The footwork has immaculate timing and co-ordination. Rina Skanehara and Senri Kou are both beautifully poised as Lead Snowflakes.

Cathy Hill's costumes are beautiful and opulent; the shimmering effect is a particularly effective detail, especially in the Snowflakes' stunning tutus. The mouse army, with their skeletal, evil-looking heads are very effective.

The English National Ballet Philharmonic is also on fine form. Gavin Sutherland's conducting brings out all the character of Tchaikovsky's score. The Dance of the Sugar Plum Fairy is particularly delicate.

This feels like a fresh and sparkling production for the English National Ballet; it looks stunning and is a wonderful Christmas treat.

Nutcracker is at London Coliseum until 6 January, 2018

Photo Credit: Laurent Liotardo

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