Review of ‘The Nutcracker’: “A pentatonic rapture”

The ultimate Christmas classic returns for the holiday season in a new intimate production featuring jazz arrangements and whimsical staging. Guillermo Nazara shares his views on the show, to let us know how this flashy montage truly lights up the tree.

Boys play with soldiers. Girls play with dolls. The old (more precisely, archaic) saying surely must have been quite similar when Tchaikovsky penned the first note for what would later become his magnum opus. A closeted gay man (as everyone back in the time was forced to be) inundated with the sorrow and guilt triggered by society’s rejection to what he knew he was, one can’t help but asking if the dreamlike escapades he created through his extravagant-sounding ballets were actually the only way of freedom his delicate heart could ever find. If that were the case, and so it may seem, at least we can find some solace (though no justification) in the fact that his pain led to such astonishing works of awe-striking amazement.

Probably the most revived pieces during the holidays (perhaps it’s time to start a competition with the upcoming reviews), the ways the Russian score has been interpreted have been innumerable – though the traditional, Tsarists-looking approach has always been preferable to me. This is, of course, nothing of the sort. The music has been reinterpreted through a bluesy instrumentation. The story features no Queen of Mice, but instead a solitary child whose likes (beyond the norm) tend to upset his father. And the venue is a small cabaret-style theatre with a tiny stage in the round. And yet, despite ignoring all of these elements, it works impressively well.

Directed and choreographed by Drew McOnie, the Christmas spirit soars high through this beautifully devised montage – featuring breathtaking dance movements, staggering visuals and a rich, well-structured and, above all, meaningful narrative. A true seasonal treat in all regards, this dream-inducing production takes us through a journey of technical sparkle and artistic pizzazz – presenting us with an engaging, imaginative feel-good story delivered through originality and know-how, but infected with the refreshing innocence of childlike wonder. All of it, supported by an appealing, uptempo version of Tchaikovsky’s ageless themes – endowing them with a contemporary vibe and some additional brightness, but maintaining the sweet flavour of their essence.

Elegantly performed by both company and band (with the minor exception of some phrasings in the woodwind section), the whole cast works as a ball of enchanting energy, blasting through their much contagious excitement on the piece and unwavering rapport onstage. Among them, Patricia Zhou makes a memorable appearance through her safe yet charming rendition of the Sugar-Plum Fairy, while Tim Hodges manages to stand out on his multiple portrayals – in particular, as the redeeming father. However, the highest praise is indisputable earned by Mark Samaras in the lead role of Clive, performing with incredible stamina, grace and flawlessness – an even more laudable achievement given how fast he had to learn the part.

With jaw-dropping dances, evocative designs and the alluring energy of a classic that never fails to captivate, the McConie Company’s reimagined proposal of Nutcracker takes the popular fairy tale to a new level and whole different atmosphere – keeping the magic of its predecessors, but pulling a few major spells up their sleeves to make of this fantasy a genuinely unique experience. As the carol bells begin to chime around town, it’s time to let ourselves be taken by the warmth and buzz of the most joyous of seasons. Wherever else you may or may not encounter it, this place will surely provide it.

All pictures credit to Mark Senior.

Nutcracker plays at London’s Southbank Centre’s Tuff Nutt Jazz Club until 6 January. Tickets are available on the following link.

By Guillermo Nazara