Review: NUTCRACKER, London Coliseum

London is lucky enough to have three different productions of Nutcracker playing this year. With fabulous reviews for The Royal Ballet's immaculate version already in and anticipation for the Birmingham Royal Ballet's version at the Royal Albert Hall building, the English National Ballet's production of Nutcracker is under pressure to ooze with festive charm and beauty.

The story is a favourite of many at this time of year and the revival of Wayne Eagling's version demonstrates a depiction of the light and shade of the story. The timeless story follows Clara and her enchanted Nutcracker doll as they journey to a magical world to do battle with the evil Mouse King and explore the land of the Sugar Plum Fairy.

2017 saw a fresh and elegant production, with more definition in the storyline and a clear sense of good and evil in the story. It seems odd that the ENB determinedly keep the more bewildering elements of the production in place. Clara herself becomes the Sugar Plum Fairy and her Nutcracker transforms inexplicably into the Nephew and back again. It is confusing to say the least, particularly for those who might be new to the ballet.

However, there remains much to love in this production; the ice skating scene, Drosselmeyer's magical hot air balloon and a brilliant battle between the Mice and Soldiers which features a huge catapulting piece of cheese.

There is a rotating cast, but on press night one of last year's dazzling Lead Snowflakes, the Japanese soloist Rina Kanehara, took on the role of Clara. She has good poise and elegance in her movements. At points she appeared a little overwhelmed by the role, but will surely grow in confidence.

Jeffrey Cirio joined English National Ballet this year as Lead Principal following his guest performances in productions such as Song of the Earth and La Sylphide. Here is appears as the Nephew. His timing is very precise and, individually, his jumps are beautifully controlled and powerful. Unfortunately, his pairing with Kanehara fails to spark. He visibly struggles with certain lifts and the pair do not gel. Cirio could also use a few extra inches in height to help Kanehara extend as much as possible.

Spanish-born Fernando Carratalá Coloma takes on the role of Nutcracker; his jumping is sharp and his batterie (when the dancer beats his legs together while jumping) is precise and clean and he lands almost soundlessly.

James Streeter reprises his role as a super-charged Mouse King. He twitches and bounces with vigour and a real comic attitude, in his brilliantly creepy red-eyed costume. Sophia Carter and Nicholas Pereira Da Silva are charming as Clara and Freddie as children. Carter in particular is enchanting as she dances with her new toy Nutcracker.

It is the smaller parts that carry much of this production. The Russian dancers are particularly impressive, dancing with great precision and energy. The Waltz of the Snowflakes is graceful and elegant and The Waltz of the Flowers is beautifully co-ordinated and delicate. Precious Adams gives a standout performance as a Lead Flower; poised and fluid, she shows great control and is a dancer to watch.

Cathy Hill's opulent costumes remain beautiful and delicate; the shimmering effect of the Snowflakes' tutus is gorgeous and the delicate pink of the Flowers feels spring-like and fresh. The mouse army appears more menacing than ever, with their evil, skull-like heads and staring eyes are ugly and ominous.

The music remains the key draw to this production and English National Ballet Philharmonic is on fine form. Gavin Sutherland is so familiar with this score he must hear it in his sleep. His conducting brings out all the character and beauty of Tchaikovsky's immaculate score.

This is not the perfect Nutcracker, but the music and visuals are so bewitching, it is difficult to see this as anything other than a warm and inviting treat.

Nutcracker is at the London Coliseum until 30 December

Photo Credit: Laurent Liotardo

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