Scottish Ballet: The Nutcracker
Eden Court Theatre - 27/01/22
It is billed as a magical family adventure and this production certainly delivers that. With a stunning set and costume design by Lez Brotherston, Scottish Ballet excel themselves with this delightful production. I have seen many different versions over the years from London Festival Ballet Company at the Festival Hall in the 60’s, English National Ballet’s various versions, touring productions and the sumptuous Royal Ballet spectacular with the Christmas Tree that grows and the Russian Angels. However, none of these delivered the charm and magic that this first-class show does. It is a stunning audience pleaser for young and old alike.
With the large Scottish Ballet orchestra in the pit this is non-stop beauty and charm. The original choreography was devised by Peter Darrell, founder of the company, with acknowledgement to Marius Petipa. This production is restaged by artistic director Christopher Hampson and has recently undergone some changes reflecting modern sensibilities regarding the show dances in the second act. But more of that later.
The score by Pyotr Ilyich Tchaikovsky is embedded in everyone’s heart and after such a long wait to hear this glorious music live, performed by the orchestra with brio, the effect was overpowering. Amazingly the original production in 1892 at the Mariinsky Theatre was greeted with a less than enthusiastic response. The critics hated it and some of the audience walked out. Even the composer was depressed. It wasn’t until the 1950’s that is suddenly became popular and now is standard Christmas offering by companies all over the world.
Judging by the full houses this week in Inverness it will continue for many years to come. Surprisingly, the smaller stage worked really well for the ensemble and brought an intimacy and magic touch to the performance. You really felt that you were part of the journey rather than a spectator afar. Everyone one in the corps works hard, taking on various roles from formal party goers to mice and soldiers, snowflakes, and characters in the land of the sweets. They certainly take on the spirit of the piece. Occasionally a little ragged on spacing but technically strong, they dance their hearts out. They are joined of course by children from the young Associate programme and the Aberdeen Danscentre students. They were natural, well-rehearsed, obviously having a brilliant time. The young girl playing Clara was just the right innocent choice. I have often seen this played by a slightly older ballerina from the junior ballet school, but she was pitch perfect. Her ride across the stage in the Troika was magical.
Scottish Ballet director Christopher Hampson has reworked the choreography for the Chinese Tea Dance as part of the reaction against uncomfortable depiction of the yellow face. Now we have a graceful fan dance, which is a welcome change dispensing with previous connotations. Mention must be made of the Arabian Dance, beautifully performed by Grace Horley and her consorts wrapping her in exotic silks.
And so, to the Nutcracker Prince and The Sugar Plum Fairy. The audience always waits with bated breath for the classic Celesta solo and Grand Pas De Deux in Act 2. Technically, one of the most challenging to perform. Sophie Martin and her partner Bruno Micchiardi nailed it, provoking an outbreak of enthusiastic applause!
The return of Clara to her bed sometimes feels like an anti-climax but this was handled beautifully with impressive projections and an appearance by magician Drosselmeyer. I won’t tell you the surprise.
This joyful production can be seen at the Theatre Royal Newcastle, 2-5 February, and The Grand Opera House Belfast, 9 -12th February. It is certainly worth the trip.
