A Nutcracker that satisfies not only the dream of Clara, but the fantasy of us all
Birmingham Royal Ballet’s Nutcracker is a gem for London audience. Famously created by Sir Peter Wright (choreographed by Marius Petipa and later completed by Lev Ivanov, with a contemporary restaging by Vicent Redmon), this production, directed by David Bentley, recently returns to London as a full production with newly added immersive projections and effects which easily transforms the Royal Albert Hall into Clara’s (Beatrice Parma) dreamlike fantasia, inspired by her godfather Drosselmeyer’s (Rory Mackay) Christmas presents.
On an elevated platform sits the Royal Ballet Sinfonia, conducted by Paul Murphy who interprets Tchaikovsky in a delightfully airy manner. However, this does not mean the entire ballet is all festive sparkle from the outset. Despite its overall cheerful atmosphere, there does exist a bittersweet undercurrent in Tchaikovsky’s score that in fact brilliantly blends the flavour, such as the snow scene that closes Act One. It has a certain ethereal quality, especially in the delicate orchestration and occasional shifts in harmony that set a more introspective mood compared to the bright liveliness of the party scenes in Act One, or the colourful divertissements in Act Two. Augmented by Dick Bird’s prop design, the Royal Albert Hall even “snows”, as delicate white paper flakes drift romantically from above.
Such pensiveness is most obvious in the duet Grand Pas de Deux in Act Two, where the Sugar Plum Fairy (Momoko Hirata) and her Cavalier (Mathias Dingman) welcome Clara. Featuring the wistful harp and cellos in the score, this piece brims with intense lyricism and elegance, with sweeping orchestral lines that gradually build toward grandeur. Both Hirata and Dingman are regal, showing virtuosic techniques for the duet’s sparkling celesta accompaniment.
To some extent, 59 Productions’s projection, together with Peter Teigen’s lighting, is the MVP of the night. There are projection screens on both sides of the huge pipe organ that vividly paints the Kingdom of Sweets. It is especially effective in ACT Two where all the dolls gradually come into life. Initially shown as mere sketches, they burst into vivid colour once they are awaken to welcome Clara. This seamless and simultaneous transformation, from simple line drawings to richly coloured figures, heightens the sense of wonder and magic, in line with the festive stage, where Clara is presented to the exotic national dances as well as the waltz of flowers.
While calling this the best ballet production she has ever seen, my friend also laments that the festive season will soon be gone. Just as there is always an awakening from Clara’s dream, The Nutcracker is both a celebration and a farewell, to the passing year, to our younger selves, and to the fantasies and dreams we indulge in along the way. Yes, we may all experience the post-Christmas blues, but don’t worry. Clara and the Rat King always awaits us, at the end of next year.