Review: THE NUTCRACKER, Royal Opera House

It must be tempting with so familiar a work, to stamp one's mark, to intervene, to create a new definitive version. It is as tempting in the role of a reviewer to turn a cynical eye to the Classic FM friendly score, the gendered stereotypes, to yield to vague memories of spoofs from 70s television. Neither The Royal Ballet, nor me in my role, should do so - this is a wondrous, wonderful show immeasurably enhanced by its warm embrace of the original work and of the art form for which it serves as an introduction for so many.

The story can be a problem for those more used to the great books of musical theatre. Peter Wright's production is better than most, both in its introduction of the nutcracker doll as a prison for a boy and in its cantileving of its two disparate main sections. He retains the toymaker / magician Drosselmeyer (Gary Avis, all sweeping robes) as a major presence throughout, summoning the dancers in the second half like a much less malevolent Emcee from Cabaret, providing a bridge between what can appear different shows separated by an interval.

Wright is also served well in stitching the narrative together by Anna Rose O'Sullivan, who dances beautifully of course, but provides another central presence as Clara, the girl who falls for her Nutcracker boy and who sticks by him in his battle with the Mouse King - indeed, its her agency that sees the villain off. The best ballet dancers are at once ethereal presences, a kind of different species who float with preternatural balance somewhere above the gravity's pull, but are also paradoxically very real, their feet very much on the ground (as t'were), vulnerable but strong. O'Sullivan is very good indeed on combining those attributes.

Joseph Sissens has less to do as the hero trapped inside the doll, but he delivers with wit and charm and the denouement is genuinely moving, kindness and courage triumphing not once, but twice. A step or two away from the emotional heart of the ballet, he must make us believe in him and we must like him - and he does so very successfully.

It all looks truly gorgeous, such a delight to see jaw-dropping sets without the video effects which will soon drive pantomimes and the cold CGI that blights so many movies aimed at young audiences. Julia Trevelyan Oman's design is a feast for the eyes from its celebrated gigantic Christmas tree to its snowy landscape and on to its magical kingdom. The genius is in packing so much detail on to the stage while leaving it clear for the dancers not just to perform, but to command the eye - as they must.

It would be invidious indeed to pick out performances from the series of sensational dances conjured by Drosselmeyer - but such is the lot of the reviewer. Marianela Nuñez and Vadim Muntagirov magnificently carry the authority and power of the Sugar Plum Fairy and her Prince, the stars of the show in every sense. The house particularly enjoyed Melissa Hamilton and Lukas B. Brændsrød's Arabian dance that teetered on the edge of circus or even figure skating, but reached out to us with an almost supernatural grace.

Tchaikovsky's score has so many melodies that one feels one was born knowing that all Koen Kessels need do is fire up his orchestra who must be able to deliver it in their sleep, but they do it perfectly well and it's always a thrill to hear all those instruments live in a full house - it's not Spotify in the kitchen, that's for sure!

On opening night, some of the timing in the crowded first half may have been ever so slightly off, but who cares really? The same might be said of an unwillingness to incorporate psychology or modish fads or (spare us please) import morals into a work now approaching 130 years old. This is traditional fare at a time of year when we value traditions, many of which were denied us 12 months ago. The Kingdom of Sweets may well be an absurd confection, but why not spend a couple of hours there when we have to spend so many in our own Kingdom, one that becomes sourer and sourer with every passing day?

The Nutcracker is at the Royal Opera House until 8 January

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