David Pearce – Popular Culture and Personal Passions

The Staging

Two Nutcrackers in just over a calendar year, the previous one on January 2 2024 was what could be described as the classic staging. The one I saw in January was anything but, and it made this Nutcracker the most magical I have ever seen.

The ballet starts with Drosselmeyer, usually a magician of sorts, in his sweet shop with assistants who looked like scientists from a 1950s sci-fi movie to me. There is a clear nod to Wonka in the opening scene and, indeed, throughout the ballet. The action moves to the street outside where you see two chimney sweeps and two suffragettes in an exuberant crowd scene which immediately made me think of Mary Poppins. The Christmas party scene included a puppet show performed by two dancers that reminded me of the scene from Chitty Chitty Bang Bang. All of these nods to children’s classics remind you that The Nutcracker fills a similar space in the lives of its audience, young and old, as these touchstones of a shared childhood passed down from one generation to the next. It is a piece of entertainment that has been around for over 130 years and seems set to be around for many more. The decision to revamp it will play its own part in the continued success.

The fight against the rats, whose first appearance as shadows running around the backdrop is genuinely creepy, showed a Clara who is much more active than many previous versions of the character. This Clara is involved in shaping her own destiny and gets involved in the fight to the extent that she wields a sword that delivers a mortal blow. She is an equal partner to the Nutcracker and both characters are less passive than their counterparts in many previous productions. Clara’s proactive nature was in evidence during the party with her mischievous side being given full rein is an acknowledgement of the increased agency of women and girls and definitely received the appreciation of the overwhelmingly female audience. The first half ended with the appearance of a marvellous ice sleigh which took to the air carrying Clara and the Nutcracker away.

The second half is usually something of a disjointed series of set pieces with little narrative drive, although it is of course supremely entertaining. Well, the concept of Drosselmeyer as a sweet maker comes into its own here as the dances have been reimagined as sweet themed confections. The set is an oasis with tents, each of which have the flag of a confection that we will see over the course of Act 2. We start with the Spanish nougat Turron, then watch the orchid root flavoured Arabic drink Sahlab, Tangulu a Chinese candy sweet, Makyvinyk, a Ukranian poppy seed roll, Marzipan Flutes from Germany and finally Liquorice Allsorts. All the dances have instantly recognisable tunes and they have very interesting choreography. These are followed by the Waltz of the Buttercream Roses and finally the dances featuring the Sugar Plum Fairy. The tunes are the familiar ones, the choreography completely new. There in a nutshell you have the focus of this ballet, to freshen up a classic score and give even the more experienced Nutcracker audience something completely new.

The Cast

As with last year, the principal dancers exuded the professionalism you would expect, but the real star for me was Millicent Honour from Tring Park School for the Performing Arts as the young Clara. She was outstanding, as was fellow Tring Park dancer Beatrice Lewis-Verebelyi last year. Millicent managed to match last year’s sparky, feisty Clara and made her a real flesh and blood character. There was real acting presence as well as superb dancing, and if she makes ballet her career she is definitely one to watch. The young dancers had setpieces throughout the show and received rousing applause for each one. It is a measure of the school’s ability to develop superb artists that the young performers completely stole the ballet from under the noses of their more seasoned castmates.

So, there you have it. A fantastic new staging with a fresh approach has enlivened a well loved ballet and provided me with the version against which all Nutcrackers will be measured from now on. Roll on 2026!