Review of ENB’s ‘The Nutcracker’: “Old-school charm”

Tchaikovsky’s Christmas masterpiece lands on the London Coliseum through one of the longest-running theatrical traditions in the West End. Guillermo Nazara shares his views on the show, to let us know if this return montage was actually sugar-plum.

They say that dreams are the actual magic that makes the world go around. Truth or not, there’s no doubt that Tchaikovsky’s creativity was incensed by some kind of external power when he wrote what’s, next to Swan Lake, his most beloved and performed work. Perhaps it was the personal struggle of a man not allowed to love outside society standards – pouring in through the sensuous ardour of his wistful melodies. Or probably, an honest wish to bring to the world the beauty that day-to-day reality threatens to blur. But whatever his motives, no one can argue that his wintery extravaganza is, by all means, the result of pure fantasy turned into something tangible.

The English National Ballet makes its December comeback to the London Coliseum with possibly the piece that’s better defined its trajectory from its inception. A quintessential Christmas stage treat in every sense, its enchanting tale of sorcery, adventure and love has swept the minds of audiences of every sort and age for over a century – despite the initial flop it faced upon its world premiere. A simple, delicate story narrated through also simple yet intricately intoxicating music, its mighty grip (gentle but firm while pulling from every string in our heart) continues to create one of the most rejuvenating experiences one can find in the genre.

Known and suitable for any kind of viewer’s expertise, ENB’s version is neither a newbie to either venue or public. First performed back in 2010, this show in particular has kept casting its flakey spell in many holidays ever since – with its most recent one last year also serving as my first encounter with all of the company’s productions. There’s usually too many reasons why not to come to a show you’ve already seen, and only a few to justify the hike (drama is my middle name… to put it mildly). However, nobody can deny that, when it comes to this season, it’s honestly never enough as for how many versions of The Nutcracker you can see – or revisit.

With an easy though well resolved, old-fashioned set design (credit to Peter Farmer), the montage cleverly lures us into the whimsical aura of Tsarist Russia. Surrounded by fabric-crafted landscapes and plywood-painted tapestries, a new universe of smooth, uncomplicated beauty unravels – effectively transporting us into the core and soul of a dream that maybe once was dreamt by its protagonist, but its composer triumphantly managed to make it happen.

Lights dim as its lavish yet delicate Overture begins to unfold. Under the baton of guest conductor Daniel Parkinson, some of his artistic choices may come as a brief shock to the touchiest ears, but it’s undeniable that there’s purpose and understanding in its delivery – all in all, concluding in a most compelling rendition. And so, though the tempo is intentionally sped up as the orchestra starts to play, the phrasing of every motive, bar and section is so incredibly well executed, the entire instrumental interpretation is, without any doubt, one of the strongest points of the whole performance.

The merit is nonetheless matched, to a large extent, by the cast’s sparkling portrayals – regaling us, in general, with engaging numbers exuding passion, commitment and, above all, dedication for their craftsmanship. Yet, there’s a few minor mistakes in the way part of the choreography is carried out – those stemming from an occasional lack of seamlessness and enough confidence while delivering some of the movements. Regardless, these are evenly balanced out by several enticing, sometimes impressive excerpts – starting with an impeccable ensemble performance during the closure of Act One. In addition, some of the soloists also provide us with more than a few moments of actual mesmerism. Junor Souza stands out in the title role by oozing stamina and a bit of character into his depiction, though the greatest praise is equally shared by onstage couple Gareth Haw and Sangeun Lee in the lead parts – flawlessly blending immaculate technique with attitude, freedom and emotion.

A classic among classics and, on top of it, a collector’s piece to look after and appreciate, The Nutcracker is still far from fading into oblivion despite its ‘other time’ vibe. It’s precisely that trait that encapsulates and channels that tinsel twinge that even nowadays continues to speak to us. Fairly maintaing the wondrous appeal of its predecessors, the ENB has ignited the flame of Tchaikovsky’s fiery musical spirit by beguiling us with a showcase of extravagant longing – in some manner, securing its place as part of our theatrical zeitgeist. Like it (and you will) or not, it belongs to our stagey folklore – and as such, it’s good to preserve it.

All pictures credit to Laurent Liotardo.

ENB’s The Nutcracker plays at the London Coliseum until 7 January. Tickets are available on the following link.

By Guillermo Nazara