Review: NUTCRACKER, London Coliseum

Last year's festive period didn't feel like Christmas in so many ways, especially for those who return year after year to see the English National Ballet's production of Nutcracker. The charming adventures of Clara and her beloved Nutcracker follow their journey through fantasy lands to defeat the evil Mouse King and meet the Sugar Plum Fairy in the Kingdom Of The Sweets. The show has a perennial appeal, but this year's production appears to have lost some of its sparkle.

The best performances come from the leads. With a rotating cast, Lead Principal Erina Takahashi took the role of Clara on press night. Takahashi displays intricate delicacy in her dancing and shows a charming innocence as the young Clara. Eagling's choreography of the Sugar Plum Fairy is famously tricky, but her fouetté turns are seemingly effortless.

Italian Francesco Gabriele Frola, now also Lead Principal, danced role of the Nephew assertively, with poised and confident jumping. The partnership between the pair is as elegant as in previous years and their grand pas de deux displays strength and grace.

First Soloist Aitor Arrieta was eye-catching as he danced the Nutcracker and Fabian Reimar took the role of the magical Drosselmeyer, performing his magic tricks slickly.

The Lead Snowflakes are as light as air; the ever-reliable Precious Adams is teamed with a very elegant Julia Conway for some of the highlights of the show. However, the national dances are a mixed bag; the Arabian dancers, usually so impressive, are often out of sync and suffer from the absence of the turbaned male part of dance. Francesca Velicu and Jung ah Choi are both nimble and assertive as the Spanish dancers, but there is a general lack of vigour.

As a group, the corps de ballet are consistent in their timing and their Dance Of The Snowflakes and Dance Of The Flowers feel reliably joyful.

As this will be many audience members first experience of ballet, it is unfortunate that parts of Eagling's version remain muddled. Even taking into account that the action forms Clara's dream, the constantly shifting characters where Clara transforms into the Sugar Plum Fairy and the Nephew becomes the Nutcracker and also a prince are confusing.

There are some lovely touches in Peter Farmer's traditional design, such as the battle between the Mouse King and the Nutcracker where the mice catapult a large lump of cheese across the stage with a mousetrap and Drosselmeyer's hot air balloon is magical. As ever, the Christmas tree remains quite hidden at the back of the stage. The costumes are beautiful; from the hollow-eyed mice heads, to the magically sparkling Snowflakes.

Alexander Ingram's conducting begins slowly and doesn't gather enough pace until the Mouse King first appears in Clara's dream. The English National Ballet Philharmonic occasionally seems a little muted, but showcases fluttering flutes, harmonious horns. The bell-like celesta is also captivating the Dance Of The Sugar Plum Fairy. Tchaikovsky's sumptuous score creates a beautiful fantasy world, but doesn't always sound as light-hearted as it should.

The will be a welcome return of the production for many and there is much to enjoy, but the usual charm, poise and magic is sometimes found wanting.

Nutcracker is at the London Coliseum until 8 Jan

Photo Credit: Laurent Liotardo

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