Review: NUTCRACKER, London Coliseum

There's not much to say about Wayne Ealing's 2010 Nutcracker from English National Ballet that has not already been said. It's left to the dancers to ensure the production is a lively Christmas treat, and fresh from Tamara Rojo's departure as Artistic Director, how are the company shaping up? It's all looking rather promising, actually ...

On opening night, Julia Conway steps up to the dual role of (adult) Clara and the Sugar Plum Fairy. The recently promoted Soloist debuted only last year in the leading role and certainly not with the pressure of the critics. She displays solid technique in Act I, but more importantly she is emotive and characterful, eyes full of wonder and reacting stoically to the chaos of the battle.

She is supported well by Fernando Carratala Coloma's handsome Nutcracker, and is well matched later in the pas de deux with Francesco Gabriele Frola's Nephew. More problematic however, is Eagling's rather cumbersome choreography, full of drags and difficult lifts, it does not lend itself to elegance, but the storytelling remains magical.

The preceding party scene is a little low energy, at least initially on this first night. The party tricks and festivities feel a somehwhat tired but the young dancers from Tring Park School are well drilled, alert and engaging. As young Clara, Millicent Honour is especially precise and charming. Visually she appears to be a little older than previous child dancers in the role and the storytelling is all the better for it.

The highlight of this production remains the corps de ballet. It's hard to watch the snowflakes and not feel a pound of anxiety with all those dancers trying to stay in unison, watch each other, their spacing, listen to the music, remain serene. How can you not find the whole thing nerve-wracking? But they are professionals and pull it off with apparent ease. Emily Suzuki and Precious Adams radiate confidence and regality, leading the ensemble capably. The culminating jetés are athletic and buoyant, making for an energetic and uplifting end to the act.

To the Puppet Theatre in Act II, a scene less busy than it once was following the cutting of the rather lacklustre Arabian that always outstayed its welcome. Better is the punchy Spanish dance, a trio of Ivana Bueno, Daniel McCormick and Jung ah Choi who are polished and proud in the brief divertissement, later Ken Saruhashi steals the show with a string of endless warp-speed turns and jumps. The Flowers, while still led dependably, again by Suzuki and this time Isabelle Brouwers, could tighten up on spacing and formations to keep it slick.

It's all prelude of course to the grand pas de deux from the Sugar Plum Fairy and her Prince (Frola). Conway dances like a woman who knows the importance of this moment, and there is a some tension in her shoulders and upper body but as the music builds and the difficulty increases, the pair relax and the partnership flows more, eventually softening into something resplendent and enjoyable. They are a well matched pair who demonstrate a trusted partnership, they can now afford to luxuriate a little more in the moment and the glorious Tchaikovsky score.

With seats noticeably more sparsely filled than in previous years at the Coliseum, perhaps it's a sign that the audience would like an update from Eagling's imaging of this Christmas staple. However, with the company in this form and multiple casts to enjoy, they deserve having a full house to captivate.

Nutcracker is at London Coliseum until 7 January 2023

Photo Credit: Laurent Liotardo