Review of ENB’s ‘The Nutcracker’: “A traditional break with the past”

The English National Ballet opens their brand new production of Tchaikovsky’s signature Christmas classic, featuring a new montage as well as a reimagined choreography co-designed by Artistic Director Aaron S. Watkin in tandem with Arielle Smith. Guillermo Nazara shares his views on the show, to let us know if this different approach on the timeless dance piece is worth the whirl.

If I asked you to close your eyes and tell me about the first thing that comes to your mind when you think of Christmas and theatre, chances are that your answer is me – because, let’s be honest, I’m such a treat; and quite stagy, too! But chances are that your second impression would probably be Tchaikovsky’s ever-living wintry masterpiece. How could it not? Everything about it emanates holiday spirit – from its simple, wondrous plot taking us on a soaring journey on to a cloud-based land of candy, to its lush, melodious score so many later composers have been swayed by when it comes to bringing the seasonal flavour either to the stage or screen.

A consolidated tradition in the London scene, coming to watch an ENB revival of one of their signature montages is almost a parishioner deed – which every balletomane must undertake for the sake of the viewership status quo. It never feels like a task, though – but a safe pleasure where all your fears can be put aside, confident in the notion that, unless something terribly wrong is to happen, our prospects of enjoyment, and perhaps even mesmerism, can certainly rest assured. That is, of course, as long as every element in the montage stays the way it used to be.

We have news for you, though. This is not the enchanting, old-fashioned version of The Nutcracker that, for at least the past two years, we’ve been charmed by within the Baroque voluptuousness of the Coliseum. It’s much better. Long gone are the painted fabrics portraying a late 19th century Russia. And in its place, a three-dimensional revision unfolds, moving the story to Edwardian London, but preserving the same dreamlike vibrancy and taste that has given endurance to the original for over a century.

With a concept put together by designer Dick Bird, this new production is a kaleidoscopic extravaganza of colour and magic – generating those shivering thrills that, as I must have described in previous reviews, only those very select pieces holding that special, almost unexplainable factor that the very, very few hold, can ever bring to an audience. It’s just an utter delight to see – at so many moments, truly making us feel like a child again, and in the most cathartic way, reminding us of that rattling experience that made us fall in love with live show for the very first time.

The reverie goes on through choreographer Aaron S. Watkin and Arielle Smith’s reimagined approach on the piece. Mixing influences from both classical and contemporary styles, this highly physical reinterpretation bears a lot of resemblance to a Broadway show – concocting a whimsical imagery that keeps the basis of a traditional ballet, but adds an extra flavour that endows it with a sense of modernity, spectacularity, and, ultimately, grandeur.

Performed with absolute magnificence by the ENB’s always competent company, this might however be one of the best executed renditions – with the whole troupe exuding an exceptional level of commitment, rapport, technique as well as lofty acting qualities. Their degree of coordination, blended with effortlessness and grace of movement, has increased quite significantly – and the result is simply superb. There’s hardly any bits where you can spot the slightest imperfection – regaling us with a never-ending stream of sumptuous artistry and theatrical pizzazz.

There are so many mentions that could be given in this case – and all of them would be fairly justified. But among their wholly exceptional corps, the first one goes to Anna Nevzorova as the Ice Queen, carrying out a bewildering act full of stamina, passion and moving touches of delicacy. On the other hand, Junor Souza makes a memorable appearance through his camp, but anyhow engaging performance, while Ivana Bueno also manages to catch the viewer’s eye through her expressive, flowing portrayal of Clara. Yet, the biggest praise goes to Francesco Gabriele Frola as the Nutcracker Prince – giving an extraordinary performance where talent and expertise converge in complete unison, as his virtuosic dancing skills are flaunted all the way through.

Hardly ever do we get to see piece where consensus is so blatantly obvious. I haven’t read what other publications have to say about this montage (and… neither… should… you…), but I would be stunned if their feelings were not close (if not, carbon copied) to mine. The English National Ballet has crowned itself with one of the best productions they have offered in the last two years – where creative opulence takes every angle of the montage, and leads to an utmost triumph that deserves nothing else but a roaring ovation. It’s a beautiful paradox that brings the power of art to the very front: it’s doesn’t break any ties with its essence nor does it offer anything purely new – and yet, you will really experience it as you never have before.

All pictures credit to Johan Persson.

The Nutcracker plays at the London Coliseum until 12 January. Tickets are available on the following link.

By Guillermo Nazara