Tag: ballet

REVIEW: Cinderella

Published on by Maria Mădălina IfrimLeave a comment

Rating: 5 out of 5.

A fantastic masterclass in visual storytelling

Birmingham Royal Ballet’s production of Cinderella was nothing short of a fantastic masterclass in visual storytelling. The performance seamlessly wove together a stunning reinterpretation of the classic fairytale, exquisite design elements, and breathtaking choreography that balanced modernity with tradition.

One of the most striking changes to the story was the deeper emotional connection between Cinderella and her mother. Rather than receiving glass slippers from an external source, Cinderella is gifted dance shoes from her mother, reinforcing a touching maternal bond that is later metamorphosed into the presence of the Fairy Godmother. This choice added an extra layer of poignancy to the narrative, making Cinderella’s transformation feel even more personal and meaningful.

The production’s approach to dance was equally poetic. The choreography beautifully captured the blossoming love between Cinderella (Beatrice Parma) and the Prince (Enrique Bejarno Vidal), with intricate patterns that reflected their growing connection. Particularly impressive were the difficult grips and one-handed lifts, showcasing both dancers’ strength and grace. Enrique Bejarno Vidal’s Prince had a compelling arc, growing into his own sense of manhood and self-discovery through movement.

Visually, the production was a silver celestial fantasy, combining modern elements with a classical essence. Macfarlane’s design masterfully depicted the transition from abyss to bliss, with meticulous attention to detail — even the curtain played a role in the spectacle. The use of walls throughout the production was particularly interesting, symbolizing the divided world Cinderella inhabits, which ultimately fractures when she falls in love.

The darker elements of the story were also well-executed. The performance opened in a visually imposing grey, starkly contrasting with the later scenes of enchantment. The Stepmother was a menacing, cruel presence, intensifying Cinderella’s initial struggles. Eilis Small and Olivia Chang Clarke as the Stepsisters delivered impeccable comedic timing, making their characters both humorous and at times genuinely threatening. The decision to not have the Stepsisters as drag performers was a refreshing choice, allowing their personalities to shine through. Dancing “badly” with such precision is no easy feat, yet they managed to execute their roles with hilarious accuracy.

Perhaps one of the most striking images of the evening was the clock, an imposing and memorable visual that underscored the fleeting nature of magic and time. The production’s visual appeal was further enhanced by its smooth lines, graceful movements, and synchronized ensemble performances, making for an utterly captivating experience.

Birmingham Royal Ballet’s Cinderella was a spellbinding triumph, blending innovation with tradition in a way that felt both fresh and timeless. With its emotional depth, stunning design, and exceptional performances, it was a breathtaking journey of love, transformation, and storytelling at its finest.

SWANLAKE by Bourne, , Choreography - Matthew Bourne, Designs - Let Brotherston, Lighting - Paule Constable, New Adventures, 2024, Plymouth, Royal Theatre Plymouth, Credit: Johan Persson/

REVIEW: Swan Lake

Published on by ciarahighamLeave a comment

Rating: 4.5 out of 5.

Hauntingly captivating, lingering in the mind long after the performance ends

Having never been to a ballet before, I wasn’t quite sure what to expect. From the start, I was captivated – the stage opened with a white screen projection of a black swan in flight, immediately setting the tone for something dramatic and mesmerising. The use of projected flying swans throughout the show was a striking visual choice, drawing me deeper into the world of the Prince and his haunting visions.

The show’s comedic elements often came from the Prince’s girlfriend, a character bursting with charisma. She had a playful energy and brought a modern touch to the production. One hilarious moment featured a phone ringing in a theatre scene – something I initially cringed at, believing it to be an actual audience mishap. It was a brilliant moment that added to her charm.

The set design was stunning, with multiple breathtaking backdrops that seamlessly transitioned throughout the show. The opening scene of the Prince in bed was particularly memorable, featuring a mirror above him reflecting a swan overhead, immediately sparking intrigue which served as the first introduction to the swans that define the play’s title. This dreamlike quality was carried throughout, reinforced by the show’s use of shadows and silhouettes. At times, my focus was drawn more to the shadows than to the performers themselves, enhancing the themes of duality embodied by the Swan and the Stranger.

The swans themselves were hypnotic. Their movement was both fluid and unsettling, perfectly embodying the eerie majesty of real-life swans – beautiful, yet somehow terrifying. Subtle sound design, including the noise of their feet and hushed vocalisations, only added to their supernatural presence, making these moments of the performance feel haunting.

The use of white throughout the show, especially in the final scenes, reinforced the presence of the swans. It was almost as if the Prince’s imagination had been entirely consumed by the Swan in these final scenes. The interplay of light and shadow created a sense of inevitability, which deepened the production’s emotional weight.

As someone new to ballet, this felt like the perfect introduction. The dancing was incredible, not only in its technicality but also in its ability to convey emotion and drive the story forward. While the longer dance sequences were impressive, I was most drawn in when the movement directly propelled the plot, such as in the Swank bar scenes. Matthew Bourne’s Swan Lake was a spellbinding experience, blending modern elements with breathtaking choreography, leaving a lasting impression long after the final curtain fell.

IN CONVERSATION WITH: Marge Hendrick

Published on by Tabitha JamesLeave a comment

Experience the wonder of The Nutcracker when Scottish Ballet bring this enchanting classic to Newcastle Theatre Royal (Thu 6 – Sat 8 Feb). Known for her captivating artistry, Principal dancer Marge Hendrick has performed many unforgettable roles since joining the company in 2014. However, few are as iconic – or as challenging – as the Sugar Plum Fairy. In this interview, Marge shares her insights into what it takes to bring the magic of The Nutcracker to life on stage…

Tell us about your first experience of seeing The Nutcracker?

It was with Scottish Ballet in 2014. I had actually never seen it prior to joining the company as a dancer, aged 19. At the time, Sophie Martin (former Scottish Ballet Principal) was performing the Sugar Plum Fairy. I remember being amazed by her performance, and how she made everything look so easy. Now that I’m performing it… I know that it’s certainly not easy!

When was your first experience performing the role of the Sugar Plum Fairy?

It was in 2021, the first winter after my promotion to Principal. I felt a lot of pressure as it was the most difficult role I’d ever performed. Everything looks nice, pretty and cute… but in reality, it’s really very tough. Between each section of choreography you just don’t stop. There’s about a minute during the Prince’s solo when I can quickly catch my breath!

How do you feel when performing this role?

I get particularly emotional when performing the pas de deux. My Partner, Principal Evan Loudon, and I have great chemistry and he makes me feel so at ease that I can let go and lose myself in the moment. We often exchange a few moments of eye-contact in the wings opposite each other just before we go on. It’s just a small silent nod of encouragement, but an important moment we share to ease our nerves. When stepping off stage I feel such a sense of relief, I’m exhausted but also feel so much joy and a sense of achievement.

What is your favourite part of performing as the Sugar Plum Fairy?

I really like how the costume makes me feel, it’s very regal. The necklace and the crown just complete the look, the way they sparkle is super pretty. I’m excited to perform the pas de deux in my costume to that iconic music again, it is all so beautiful.

What are the challenging aspects?

Definitely the level of endurance required, but now that I’ve done it before, I feel somewhat prepared — it’s in my DNA. I think everyone who performs Sugar Plum can relate to the moment when you hear the final notes of ‘The Waltz of the Flowers’ which go ‘Duh, duh, de, duh… ’ (Marge laughs) — you can really feel your guts turning. In that moment I try to really focus and tell myself, ‘you’ve got this’.

With its breathtaking choreography, Tchaikovsky’s iconic score, and stunning performances by Scottish Ballet’s world-class dancers, The Nutcracker is a magical experience for audiences of all ages. 

The Nutcracker plays Newcastle Theatre Royal Thu 6 – Sat 8 Feb 2025. Tickets can be purchased at www.theatreroyal.co.uk or from the Theatre Royal Box Office on 0191 232 7010.

IN CONVERSATION WITH: Vittorio Scole

Published on by Tabitha JamesLeave a comment

Prior to their visit to Darlington we caught up with the soloist from Varna International Ballet to get a glimpse of life behind the scenes. Vittorio Scole performs as Prince Siegfried in Swan Lake, Prince in The Nutcracker and Romeo in Romeo & Juliet.

Where did you train as a dancer?

Vittorio: I received my ballet education at the famous Vaganova Academy in St. Petersburg, where many famous dancers, such as Rudolf Nureyev and Mikhail Baryshnikov graduated from. I am grateful to the Varna International Ballet and its excellent ballet masters to work with us. They themselves were excellent artists in the past. Each year I realise that my professional level is rising from performance to performance.

Have you visited the UK before? What do you enjoy most about touring here?

Vittorio: I’ve had a good opportunity to perform for the British audience and I’ve always been amazed at how subtly the audience reacts and understand the slightest nuances in music and choreography. I was delighted to see the audience grasping my movements and emotions that I am trying to put into the roles.

How do you keep fit and healthy on tour?

Vittorio: Our ballet masters always tell us that touring has nothing to do with tourism. Ballet tours are very intense responsible work. Therefore, for dancers, there is not even a question of how to keep fit. We must be fit and be in good physical form because it is very hard to find a last-minute replacement for the role if someone is unfit or gets sick. It is extremely important to have a good rest and relax when you can. We try to walk around your cities because each of them has amazing history. The tour schedule permitting, we try to taste local cuisine and unique British beer.

How do you relax when you’re not working?

Vittorio: We are lucky in the home city of Varna where you can find the best sea resorts in Bulgaria. Swimming gives us the best anti-stress therapy!

Apart from ballet, what is your favourite dance style?

Vittorio: I periodically fall in love with different ballet styles, because each has its own special energy. Now I am looking with interest at hip-hop, which is evolving in an extraordinary way.  

Varna International Ballet comes to Darlington Hippodrome from Saturday 8 to Monday 10 February. For full details or to book visit www.darlingtonhippodrome.co.uk or call the Box Office on 01325 405405

REVIEW: The Nutcracker (Varna International Ballet)

Published on by ruthiooLeave a comment

Rating: 4 out of 5.

“Festive delights and sweet surprises”

Varna International, a talented company from Bulgaria, presented a delightful rendition of The Nutcracker this week at the Edinburgh Playhouse, that captured the magic of the holiday season. The young performers brought an infectious energy to the stage, their exuberance and skill a true highlight of the production. Tchaikovsky’s iconic score was performed with great sensitivity and precision by the orchestra, under the direction of Peter Tuleshkov, the Music Director and Chief Conductor. The music provided a rich backdrop to the enchanting narrative, elevating the entire performance.

However, the production wasn’t without its flaws. While the costumes were generally charming, a few choices left much to be desired. The Mouse King’s costume, for instance, obscured what was likely an exceptional dancer’s lines, poise, and strength, which felt like a missed opportunity. Other costumes, such as the Spanish dancer’s, featured a cheap-looking metallic fabric and an awkwardly structured ruff, which didn’t quite do justice to the performers. 

Lighting, too, was a slight disappointment. While the show had moments of enchantment, some scenes felt uninspired, failing to enhance the magical atmosphere in the way one would expect from such a renowned ballet. The use of projections for the backdrop, though ambitious, often felt more distracting than immersive, and in some instances, it seemed to detract from rather than contribute to the story.

On the positive side, the production did offer a few truly magical moments, particularly the impressive costume changes that added an element of surprise and delight. Daniela Dimova, the Artistic Director, clearly had a vision for the production that shone through in these moments, even if some aspects didn’t fully align with that vision. 

Despite its flaws, this Nutcracker remains an enjoyable experience for audiences, especially for those who appreciate the skill and artistry of young performers and the timeless beauty of Tchaikovsky’s music. Overall, while there are areas for improvement, this Nutcracker is still a heartwarming and festive treat that is well worth seeing.

REVIEW: Romeo and Juliet

Published on by rzhang116Leave a comment

Rating: 4 out of 5.

Whether you’re a Shakespeare aficionado or new to the story, Romeo and Juliet will move you to tears with its tale of love and heartbreak told by one of the best ballet companies currently touring the UK.

Romeo and Juliet is a ballet adaptation of Shakespeare’s classic play, brought to the Edinburgh Playhouse and venues across the UK by the renowned Varna International Ballet. Although there are no spoken lines as one knows to expect from a ballet, the dancers use expressive body language to convey the romantic and tragic love story of Romeo and Juliet.

Shakespeare’s tale of primal passion and timeless tragedy is brought to life by Prokofiev’s soaring score, set in bustling Renaissance Verona and with an emotionally charged choreography that befits the world’s greatest love story. Varna International Ballet, under the artistic direction of Daniela Dimova and the musical direction of Peter Tuleshkov, masterfully captures the essence of this timeless masterpiece with its award-winning soloists and magnificent corps de ballet.

The plot of this ballet is derived from Shakespeare’s play of the same name. This adaptation emphasises Romeo’s love at first sight for Juliet and his romantic pursuit of winning her affection, while omitting certain subplots involving supporting characters. Such an adaptation is well-suited to ballet, as it allows the audience to focus more on the technical aspects of the performance rather than becoming too absorbed in the intricacies of the plot. However, the lack of sufficient exposition regarding Tybalt and Mercutio may leave the audience somewhat confused during the first half.

The first half of the ballet centres on Romeo’s chance encounter with Juliet at a ball, where they fall in love at first sight and sneak around the party together. The second half shifts focus to Romeo’s accidental killing of Tybalt, yet Juliet continues to believe in his love, leading to the classic ending we all know. While the story is ultimately tragic, the numerous light-hearted and joyful scenes in the first half contrast sharply with the darker themes of death in the latter half, prompting the audience to reflect more deeply on the nature of cruel fate.

The cast demonstrated exceptional ballet skills, excelling in both group dances and the solo performances of the main characters. Mercutio, in particular, was portrayed as playful and witty, adding a touch of comedy to an otherwise heavy tragic story. Romeo’s character is multi-faceted, displaying loyalty in his pursuit of love, bravery in defending his friends, and innocence as he blends into the party simply to catch a glimpse of Juliet.

There are also some unexpected elements in the production. In addition to classic ballet movements, elements of modern dance are incorporated, particularly in the scene where the two families engage in conflict. This fusion of styles enhances the portrayal of the story’s themes. Musically, the inclusion of the tambourine contributes to the overall atmosphere, and its distinctive sound, rarely heard in such performances, provides a delightful surprise for the audience.

Founded in 1947, Varna International Ballet has been delighting audiences for decades at home and abroad with performances of the highest quality. The company returns to the UK following a breathtaking 23/24 tour and will present stunning performances of Swan Lake, The Nutcracker, and Romeo and Juliet in 2025. From the grandeur of the masked ball to the intimacy of the lovers’ balcony, this star-crossed story of duels, bitter family feuds and love that cannot be, is unmissable.

Overall, this adaptation of Romeo and Juliet offers a compelling blend of classical ballet and contemporary influences, delivering a visually and emotionally engaging experience.

Check tour dates here – pirouetting across the UK until 4th March 2025.

REVIEW: Giselle

Published on by Lucy Holz1 Comment

Rating: 5 out of 5.

Classic romantic ballet performed to perfection  

Considered a representation of the highest achievement in romantic ballet, various  versions of Giselle populate the repertoire lists of ballet companies worldwide.  Commissioned by English National Ballet in 1953, this Mary Skeaping version restores many original scenes, creating a cohesive version that effectively stitches together the two disparate halves of this ballet.  

The story of a woman betrayed by a cheating fiancee, while the first act showcases a  peasant celebration of a wine festival, the second revolves entirely around the  supernatural. The Wilis, the ghosts of brides who have died before their wedding, lure  various young men to their deaths by forcing them to dance til exhaustion.  

Erina Takahashi gives a stellar performance as the peasant girl turned Wilis Giselle,  driven to madness and eventually death by her fiancees betrayal. Takahashi perfectly  captures the fragile humility of her character, making her truthful interpretation of the  iconic ‘mad scene’ even more impactful.  

Her final few performances before retirement after a 30-year long career, it is a  privilege to watch Takahashi dance for the first and last time. The original  choreography by Jean Corelli and Jules Perrot has been revised by Marius Petipa and  it’s hard to imagine the titular role danced any better.  

Francesco Gabriele Frola plays Albrecht, the disguised Duke of Silesia, while Fabian  Reimair is the scorned suitor Hilarion. Frola and Takahashi have a beautiful  partnership, performing the act 2 pas de deux with lightness and warmth.  

Costumes by David Walker are breathtaking, with the Wilis dressed in ethereal tutus  that fall softly around the ballerinas. Precious Adams plays a formidable Myrtha,  commanding men to dance to their death before her as Queen of the Wilis.  

Sets are also designed by Walker and are just as sensational as his costumes,  providing hyper-realistic backdrops for some exceptional dancing. Lighting designed  by David Mohr and recreated by Charles Bristow truly helps these sets come to life.  Gavin Sutherland conducts the English National Ballet Philharmonic to a lovely  rendition of the score, creating a particularly haunting soundtrack to the ‘dance of the  Wilis’.  

Skeaping’s choreography brings back much of the mime from original versions which  is the only dampener on this production. Completely uninterpretable, the movements of Giselle’s mother Berthe when explaining the legend of the Wilis add very little to the story, even with a translation in the program.  

Despite the additions of pantomime, this version of Giselle is a beautiful blend of  traditional and modern and is a practically perfect production that captures the  essence of romanticism in ballet. 

REVIEW: Birmingham Royal Ballet’s Nutcracker at Royal Albert Hall

Published on by Ke MengLeave a comment

Rating: 4 out of 5.

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.

REVIEW: Nutcracker

Published on by Lucy HolzLeave a comment

Rating: 4 out of 5.

A bold reimagining of a Christmas classic  

Performed worldwide at Christmastime, The Nutcracker is perhaps the most popular  of all the story ballets. With breathtaking music from Tchaikovsky, this ballet is iconic and thus a prime canvas for choreographers eager to make a name for themselves.  

The Nutcracker follows the story of Clara, an aristocratic child gifted a nutcracker for  Christmas Eve. When the Nutcracker comes alive she is transported into a world of  danger and delights, only to be whisked home just in time for Christmas.  

This most recent reworked version from English National Ballet, is a collaboration  between the artistic director Aaron S. Watkin and choreographer Arielle Smith. Their  creation leans heavily into the traditional British pantomime style, producing the  perfect Christmas ballet for kids.  

The first act includes some unique and very unballet-like choreography, with dancers  gyrating and thrusting their heads forward in a way very reminiscent of La Fille mal  gardée’s beloved chickens. At times it is difficult to ascertain if the younger dancers  are unskilled or if these forced mechanical moves just make them appear so.  

Fortunately, the second act proves the latter, as Watkin and Smith opt for more  traditional choreography that the dancers gratefully sink their teeth into. Emma Hawes is an ethereal Sugar Plum Fairy surrounded by an array of delicious sounding exotic sweets. Erik Woolhouse plays a charming Ukrainian roll, seamlessly showing  off his gravity-defying leaps and bounds.  

Rhys Antoni Yeomans does an admirable job remaining balanced while dancing the  role of Nutcracker Doll with a large fake head atop his neck, bringing us a dramatic  and dynamic battle with the Rat King (James Streeter). France’s Gabriele Frola plays  the Nutcracker Prince, a doll transformed by Clara’s heroics on the battlefield. Strong  and suave, Frola makes a fitting companion for the future queen of the kingdom.  

The real show stealer is the intricate costuming and magnificent set by Dick Bird.  Bird continues the beloved ballet tradition of high-budget, awe-inspiring sets, holding  nothing back in his creations, showing us everything from colourful Edwardian  streets to the vibrant Land of Sweets and Delights. Costumes are just as exciting if a  little more modern, with the Ice Queen and her snowflakes resembling the ‘Beauty School Dropout’ chorus in Grease. Some costumes reveal a little more than intended  during some of the more ambitious lifts, giving merit to the more modest construction  of the traditional tutu. 

Although ballet traditionalists may be left chuckling at some of the more unique  artistic decisions, this is the perfect ballet for children. With new characters, huge sets  and colourful costumes, this is the ultimate festive day out for young families.

The Nutcracker plays at the London Coliseum until the 12th January 2025.

REVIEW: The Nutcracker

Published on by eviegreenstreet039f43f8d8Leave a comment

Rating: 5 out of 5.

‘A beautiful, creative interpretation of the popular Christmas classic.’

Choreographed and directed by Christopher Hampson, with additional flavour from a team of choreographers, this enchanting ballet was the perfect way to start the December festivities. 

From the beginning of this mesmerising interpretation, there was a fun and festive feel at the grand Christmas eve party. A busy bustle of children playing, guests dancing and gifts exchanged with an array of attendees from lively youngsters to the eccentric aunts who were humorously characterised by Gina Scott and Madeline Squire. 

As the unique and bedazzling Drosselmeyer arrives to entertain the guests, the mood changes form light-hearted to curious and mysterious. Drosselmeyer who is skilfully performed by Grace Horler commands the stage and captivates the audience with magic and excitement. 

It is in this scene that Drosselmeyer gifts the family with a charming nutcracker resembling a handsome prince. There are lots of clever slights of hand in this sequence, from unique magic tricks to the moment Drosselmeyer repairs the nutcracker following a playful mishap between young Fritz and Clara. 

When Clara, danced beautifully by Ava Morrison, falls asleep after the festivities the magic truly begins as she is thrust into a strange world of fantasy. There is a shift in tone as she meets the scary King rat, cleverly characterised by Ishan Mahabir-Stokes and his band of mice. 

Thankfully, Drosselmeyer’s magic continues as the beloved nutcracker awakens to reveal instead a charming prince who was precisely performed throughout by Yuri Marques Da Silva.

Not only does the prince valiantly defeat the King Rat in a thrilling battle but he then takes Clara on an enchanting and wonderous adventure to the shimmering Land of Ice and Snow, where delectable dancing delights await. The delicate snowflakes and the graceful Snow Queen performed by Roseanna Leney take the stage for a spectacular wintery treat. The perfect end to the first Act. 

There is outstanding costume and set design from Lez Brotherston from the intricate features of the King Rat and his band of rodents to the opulent and delicate designs of the Snow Queen and her entrancing sleigh. And the second act is no different as the playful, festive and eye-catching set transports us to the realm of the Sugar Plum fairy.

The exquisite dancing continues in the second Act as Clara feasts on an assortment of dances from across the world. Each dance evoked a different feeling as we moved through the five different countries. I particularly enjoyed the punchy and jovial nature of the candy canes from Russia where Sophie Laplane’s fun, acrobatic choreography was enhanced by Brotherston’s bright and bold Russian clown costumes.

I also appreciated the beauty and delicacy of the bon-bons from France who danced with poise and precision. Jessica Fyfe who later expertly danced a stunning Sugar Plum Fairy also choreographed this beautiful delight of treats.

When the curtain closed at the end of the show, I could not believe how quickly the evening had past. From the enchanting live orchestra playing Tchaikovsky’s well-loved music, to the captivating dancing and delectable costumes, the evening was spectacular. This ballet was as delicious as the array of sweets danced in the second Act and is not one to be missed!