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The Nutcracker certainly owns its own dose of Christmas magic, annually outlining huge mobs( including many who first-time dance onlookers) to enjoy a live ballet performance.
The resplendent London Coliseum creates a buzzy festive atmosphere, as well-dressed patrons pose for paintings in front of the stage and lovely pink Christmas tree, formed of pointe shoes.
English National Ballet’s Nutcracker first act demonstrates the hustle and bustle of Christmas parties, with beautiful screen projections of scattered snow flurries. In contrast to the lovely winter incident, slapstick comedy ensues as ice skaters shove each other, topple over and hurl snowballs, which children will especially appreciate.
English National Ballet in Nutcracker( c) Laurent Liotardo.
Inside, children and adults dance at the Christmas party; but balletomanes may become impatient as the adult dancers parade around. The ladies’ richly coloured dress swish elegantly near their ankles, but the dancing seems constrained and mainly to diminish port de bras.
Watching the children from local ballet schools( such as Tring Park School for the Performing Arts and English National Ballet School) is a enjoy, and young dancers Sophie Carter and Nicolas Pereira Da Silva delivered admirable attribute performances as young Clara and young Freddie; but the more fantastic dance panoramas are reserved until afterward in the show.
After young Clara strays off to sleep, James Streeter dashes about the stage as a wonderfully dastardly, rascally Mouse King in the battle between the mouse and plaything soldiers. Wily, he darts into action, commanding his forces against the soldiers- some of whom rise riding horses, thanks to clever costuming.
English National Ballet in Nutcracker( c) Laurent Liotardo.
Rina Kanehara attracts empathy from the crowd as she plays an apprehensive adult Clara, nervously scratching her arms and feebly reigning blows on the Mouse King as he carries her away. But her dancing is much more captivating after her magic balloon journey escape with Drosselmeyer and his nephew.
The flurry of dancers celebrating the Mouse King’s defeat sets a lively tempo as the Spanish dancers swish their skirts with bravado and move with perfect punctuality, but the Arabian deviation is tired. Four females enter the stage, hips jutting out in an outrageous manner. The snake limbs are wispy and frail; and it’s a chagrin because even a short consultation with a professional belly dancer could have readily rectified some of the movement qualities.
The Chinese troupe came on stage in a mercifully short amount with much bowing, childishly flexed wrists and ankles and allusions to acrobatics; and while four female Russian dancers kick their ruby-red boots, all eyes are on the enormous binds of Ken Saruahashi, who impresses with energetic leaps and spins.
English National Ballet in Nutcracker( c) Laurent Liotardo.
Despite clever staging with dance in rounds, the waltz of the flowers feels cramped with the entire corps on stage. Nonetheless, the dreamy duet with Clara and Drosselmeyer’s nephew effortlessly fills the room with arabesques, raisings and supported pirouettes galore. The pair remains present during their triumphant partnerwork; and they astonish with technical solo: Jeffrey Cirio seems to hang in the air as he leaps, and Kanehara solidly flogs out fouette turns with two rotations each.
The classic demonstrate, Tchaikvsky’s music and talented lead dancers are to be able to captivate the audience with its whimsy. After young Clara awakens and the reveal comes to an end, leaving the magical personas behind, Christmas cheer lingers in the theatre.
Reviewed on 13 th of December at the London Coliseum
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