Review of ENB’s ‘The Nutcracker’ (London Coliseum, 2025): “Lush revamp of Tchaikovsky’s classic is a candied Christmas treat”

The English National Ballet brings back its latest production of the late-Romantic masterwork from last year’s world premiere. Guillermo Nazara shares his views on the show to let us know if this new take on the fairytale piece is either a smasher or a broken toy.

You may say it is required by law that, if you’re a Londoner and you’re into theatre, you must attend at least one performance of The Nutcracker for the festive season. My only mistake was walking the extra mile with that rule last year, which turned out to be the conclusion of my 2024 review roster.

“Why was it a mistake?”, you would ask. Well, the Birmingham Royal Ballet appears to prioritise purism over creativity. For some, it might be interesting to see a rendition performed as it was over a century ago. Yet, after watching such a repetitive array of bland movements during the iconic march, we may come to the consensus that an update is desperately needed.

The English National Ballet has understood the assignment well. And so, the last holiday season welcomed the world premiere of their Nutcracker remake. It had everything we could wish for, and it still does to even a greater extent — it’s lavish, whimsical, charming, and its sense of spectacularity fuels both its visual and narrative machinery.

Featuring an eclectic choreography by Aaron S. Watkin (the company’s Artistic Director) and Arielle Smith, the show delivers a balanced mixture of contemporary and classical dance. The lush elegance of traditional ballet permeates through Watkin’s highly stylized movements, particularly prominent in segments such as the Land of Snow. On the other hand, Smith’s zestful approach adds a Broadway flavour to the overall composition — garish, lively, and overflowing with expressiveness and storytelling quality.

The combination works exceedingly well in general. Both sides complement each other strongly. And for the most part, they deliver a congruous blend. Rarely do they collide despite their contrasting nature, which still pervades throughout the performance. And ultimately, they concoct an intricate assortment that brims with vibrancy but also cohesiveness.

There are a few questionable choices, nonetheless. Little Clara’s playful dance could benefit from a less slapstick tone. Similarly, the Trepak section, now staged as a Russian-circus stunt act, isn’t as elaborate as the idea would suggest. However, the final impression is that of a fresh, inventive, and above all, curated execution imbued by the spiritedness of its creators — and that’s precisely where its true magic resides.

Dick Bird’s staggering designs are the stars of the evening. Its exuberance and dynamism build an arresting parade of theatrical extravaganza. The Overture alone features three separate settings, as a lift takes us from Drosselmeyer’s elf-run workshop to his toy shop. From there, we travel into the snow-coated streets of Edwardian London, followed by the grandeur of the Stahlbaum mansion’s main hall. Its opulence goes on and on, flowing through seamless transitions and showcasing a higher level of detail than last year’s trial version, with several simple but noticeable incorporations scattered around, including John Bulleid’s endearing illusions.

The orchestra brings out Tchaikovsky’s signature poignancy with ample command. On the whole, Maria Seletskaja’s conducting flaunts precision and textural richness. We may spot a few passages where the articulation is not as melodically powerful as the piece hints. Yet, the entire Act Two is delivered with utmost intricacy, bravura, and finesse.

The corps performs with flair and overall technical aptitude. A few segments are yet to be fully internalised, nonetheless. The opening of the Waltz of the Flowers, for example, is clotted by a thin layer of mechanicism. Yet, the final impression is inviting, enjoyable, and ultimately, highly positive. Paulo Rodrigues shines through his poised portrayal of the Nutcracker Prince while Anna Nevzorova’s rendition of the Ice Queen teems with grace, adroitness, and panache. The highest praise is earned equally by Ivana Bueno as Clara and Gareth Haw as the Sugar Plum Cavalier, whose deft interpretations are as impeccable as they are daring, vigorous, and stirring.

It’s beginning to look a lot like Christmas. And as the festive lights of St. Martin’s Lane look down on the amazed tourists and frustrated Londoners trying to get through, everyone should stop before the majestic gates of the Coliseum and consider whether they’d like to feel like children again. That’s precisely what this production of The Nutcracker does. It elevates our spirits through its theatrical pizzazz, mixing visual awe with performative sparkle. It’s an eye-candy spectacle as dreamy as the universe it takes us to. And its endurance is undeniable.

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The Nutcracker plays at the London Coliseum until 11 January. Tickets are available on the following link.

By Guillermo Nazara