Review: NUTCRACKER, London Coliseum

It has been some time coming. For nearly 15 years English National Ballet enthusiastically performed Wayne Eagling’s Nutcracker, a traditional but rather staid production with a fuzzy narrative and lacking opportunity for the company to shine. Now, with just over a year in post as Artistic Director, Aaron S. Watkin together with in demand young choreographer Arielle Smith have developed a luxurious new take on the Christmas classic. 

Dick Bird’s colourful designs will linger long in the memory. From the cosy depictions of Edwardian London complete with St Paul’s Cathedral, to a glistening ice sleigh pulled by a seahorse amongst candyfloss clouds and the glittering ice realm, it is all overwhelmingly beautiful and that’s all before Act II. 

Smith and Watkin have also succeeded in injecting an energy into what can be a lacklustre party scene. New roles have been invented and old ones beefed up to make for much richer opportunities for dance content. Matthew Astley and Rhys Antoni Yeomans are spritely chimney sweeps, there are spirited suffragettes and the party guests are elegantly choreographed and characterised. This characterisation is another strength which enhances the overall magical feeling; Mrs Stahlbaum will later become the Sugar Plum Fairy, Clara’s eccentric Aunt will transform into a sparkling ice Queen and this is all clearly indicated in the impeccable storytelling and costuming. 

Of a number of standout performances, I was consistently drawn to Junor Souza’s mysteriously captivating Drosselmeyer (a sweet shop owner) - a more charismatic stroyteller you will not find. Souza is a smooth mover and fine actor, charming the children with a swish of his red velvet cloak and a host of impeccable magic tricks.

As a young Clara, Delilah Wiggins is confident and expressive, the transition from her curling up to sleep clutching her Nutcracker doll to the arrival of the adult Clara is slick and clear. As a grown up Clara, Ivana Beuno is enchanting as ever; alert and powerful in the battle scene with Smith making the rather nice addition that our female heroine is the slayer of King Rat and not the Nutcracker. Kudos too for Yeomans who has not long put down his chimney sweep to become the plucky Nutcracker doll complete with compact, high jumps and a great sense of drama.

Before long we are transported to a futuristic looking moonlit (silver bauble) sky. There is tender partnering from Francesco Gabriele Frola as the Prince, paired with Bueno, they are a beautifuly soft and romantic couple who’s talents lend temselves this sweet escapism. Anna Nevzorova’s lavish Ice Queen reigns supreme over the shimmering Ice Realm in another visually glorious site before we move onto the Land of Sweets and Delights.

Act II is filled with eye popping colour, Bird’s designs comprehensively deliver again. The uniquely realised sweet themed dances are largely bright and joyful, with a golden dome housing each of the dancers after their party piece. A special mention to the Spanish nougat sextet, with assured performances from Emily Suzuki and Alice Bellini, while Erik Woolhouse’s boundless showing in the monochrome Makivnyk is mightly impressively (note the Ukrainian poppyseed roll replacing the usually seen Russian addition). 

Emma Hawes more than rises to the occasion as a regal Sugar Plum Fairy, unhurried and elegant she exudes the necessary opulance. Together with Aitor Arietta as her Prince, it’s not always an evenly matched affair on opening night. There are a few fumbles (not just from them) and it’s clear the new choreography is still bedding in as is to be expected. But the four key roles are all packed with difficulty which are tackled bravely and will no doubt hit the mark as the run continues. 

Like many, having plugged away with ENBs previous Nutcracker for over a decade, Watkin and Smith’s new creation is an almost overwhelming experience. The stage is consistently packed with action, colour and character (more than can be covered here). For now, it’s a truly exciting new interpretation that is accessible to all and will only benefit from repeat viewing as the company get to grips with it’s numerous demands. Creatively and choreographically no expense has been spared and it will undoubtedly delight audiences for years to come. 

Nutcracker runs at the London Coliseum until January 12th, 2025

Photo credit: Johan Persson

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