Review: NUTCRACKER, London Coliseum

When I first saw The Nutcracker around a quarter of a century ago, I became sure of one thing: either I was on drugs, the cast were on drugs or we both were. A far cry from the more prosaic nature of the previous ballets I'd seen, this dream-like work still has the power to enthral the young and old.

There are those who say that English National Ballet’s Nutcracker (sans definite article) is past its sell by date, having originated in 2010 by then-Artistic Director Wayne Eagling. It certainly doesn’t pack the punch now that it did back then but, to be fair, current AD Aaron S. Watkin has barely got his feet under the desk having only started in his role in August. Maybe we can expect something new next year?

Whether or not the ENB continues with the Eagling vision of Tchaikovsky’s masterwork or not, there will no doubt be a Nutcracker (with or without definite article) come Christmas 2024 considering its broad public appeal, it’s place in the holy trinity of Yuletide stage productions (alongside Dickens’ A Christmas Carol and Handel’s Messiah) and, perhaps most importantly, the buckets of moolah this classic brings in: one recent report suggested that almost half of the New York Ballet company’s annual income came from their annual five-week run.

Leading the charge this year is the statuesque Sanguen Lee as the full-size Clara. Standing at 5’11 even before she goes on tippy-toe for some utterly beautiful pointe, the Korean ballerina is grace personified. James Streeter has played the Mouse King all the way back to Nutcracker’s debut season and once again puts on the pale grey costume that by now must feel like a second skin. 

Fabian Reimair is also back as Drosselmeyer and is still handsome as all hell in his highly-detailed outfit. The Tring Park School for the Performing Arts continues to provide the ENB's child performers with Millicent Honour and James Whatson playing Clara and Freddie as children on press night. Down in the pit, guest conductor Daniel Parkinson and the ENB Philharmonic do justice to one of the most famous classical scores.

The Eagling Nutcracker’s storytelling has never been its strongest point and, even when I am definitely sure I’m not hallucinating, the plot still seems to jump around along with the dancers. There’s no denying the nostalgic power of the early scenes (small bedroom, tiresome brother, frenetic Scotsman spinning around a ballroom) but the best is reserved for the home stretch. I know not everyone is a fan of the international dances in the second half but for me they are more than mere divertissements even if Eagling’s “pervy” Arabian section has drawn particular ire. There is an exuberant and simple nature to them that just demands to be watched and loved, especially Cossack Erik Woolhouse’s high leaps into the air.

Whether it comes to choosing whether to update this version to make it feel more modern or start completely afresh, doing nothing is not really an option for Watkin, at least in the medium-to-long term. Especially for those experiencing this for the first time, there is plenty to enjoy here but there’s a slightly musty feel generated by Peter Farmer’s dated designs and the occasional dumbed-down choreography which threatens to go full Snowman.

We all know new productions are expensive and risky and we're hardly living in financially abundant times but the wind of change is in the air for the aforementioned holy trinity. There are now countless interpretations of Scrooge’s nocturnal adventures, the Messiah has been radically interpreted and other companies have revitalised this ballet so why can't the ENB do the same to their Nutcracker? Is it too much to ask for? Dear Santa…

Nutcracker continues at London Coliseum until 14 January.

Photo credit: Laurent Liotardo

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