Review: NUTCRACKER, London Coliseum

For many, it simply cannot be Christmas without Nutcracker. The enduring story of Clara and her beloved Nutcracker is one to soften the hardest of hearts. The pair defeat the evil Mouse King and his army and journey to the Kingdom Of The Sweets to meet the Sugar Plum Fairy for a magical adventure. English National Ballet present another Christmas revival of the Wayne Eagling version which both enchants and charms.

With a rotating cast throughout the run, Senior Principal Erina Takahashi took the role of Clara on press night. Takahashi is a very delicate dancer, bringing an innocent sweetness to the role. She has huge elegance in her neckline and fingers. Eagling's choreography of the Sugar Plum Fairy is fiendishly difficult, but she performs the moves with excellent poise and refinement. Her fouetté turns are sharply executed, with seemingly effortless energy.

Italian Francesco Gabriele Frola was promoted to Principal dancer in 2018 and on press night he danced role of the Nephew. His solo work is poised and assertive, with impressive and sure-footed leaps. A couple of the lifts teeter a little, with Frola's wrists shaking with the effort, but the partnership with Takahashi is elegant with their grand pas de deux executed with a strong mutual energy.

After his performance as the Mouse King last year, the excellent James Streeter returns to the role of Drosselmeyer. As the de facto Master of Ceremonies, he performs his magic tricks with aplomb and infuses his movement with warmth and confidence.

The corps de ballet are consistently good. There are some very small timing issues and one or two slightly heavy-footed landings, but overall the spectacle of their movement is sumptuous. First Artist Precious Adams impresses again as one of the Lead Snowflakes. She is consistently eye-catching, with an attractive charisma to her movement.

The national dances are stunning; the Arabian dancers are particularly impressive in their languorous beauty, with the excellent Fabian Reimar returning as the turbaned Arab. Francesca Velicu is nimble and leaps as though there are springs in her legs as one of the Chinese dancers.

There are some that will argue that Eagling's version, which premiered in 2010, is showing signs of tiredness. It is true that the production retains some confusing elements; Clara's loyal companion inexplicably changes between the Nephew and Nutcracker and Clara herself transforms into the Sugar Plum Fairy and the Nephew into her Prince. As the show will be many audience members' first experience of ballet, this will be unnecessarily bewildering.

However, what works is the utterly traditional and classical feel of the production. Peter Farmer's design remains beautifully elegant, with the magical, snow-covered opening scene and floating hot air balloon as impressive as ever. It is a shame that the magic growth of the Christmas tree remains slightly hidden at the back of the set and could be so much more exciting in its execution. The costumes are beautiful; from the sharply skeletal heads of the mice, to the glittering, crystal-embellished costumes of the Snowflakes.

Tchaikovsky's luscious score is as inspiring as ever. Despite some initial tuning issues in the brass section, Conductor Gerry Cornelius draws nice balance and tempo from the English National Ballet Philharmonic. There is lovely pace to the party scene, particularly during Drosselmeyer's magic tricks, then a slower, grander feel to the concluding pas de deux.

In previous years, the production has felt less than magical, but this is revival feels fresh and enchanting, with some beautiful performances. The show offers pure escapism; something we all need at the moment.

Nutcracker is at the London Coliseum until 5 January 2020

Photo Credit: Laurent Liotardo

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