By Alessandro Bizzotto
The English National Ballet’s latest production of The Nutcracker, staged at the London Coliseum, marks a distinct evolution under the artistic direction of Aaron S. Watkin. Co-choreographed by Watkin and Arielle Smith, this rendition is set in Edwardian London, offering a fresh perspective on the classic ballet.
Suffragettes take to the streets during the festive celebrations, while Christmas also provides an opportunity to indulge in sweet delights. This version seamlessly blends traditional storytelling with playful updates, including a reimagined Drosselmeyer as a candy emporium owner.
Clara, a young girl, receives a magical Nutcracker doll from her godfather, Drosselmeyer, at the Christmas Eve party. That night, Clara embarks on a fantastical adventure: the Nutcracker comes to life, defeats the Rat King, and transforms into a handsome prince. Together, they journey through a snowy realm to the Kingdom of Sweets.
Designer Dick Bird captures the essence of turn-of-the-century London with vivid detail in both the sets and costumes. The production opens with lively, bustling streets populated by young urchins, before seamlessly transitioning to the warm, celebratory atmosphere of the Stahlbaum family’s Christmas party. Bird’s designs masterfully contrast the gritty realism of the city with the enchanting splendour of the magical realms, adding a rich layer of storytelling to the ballet.
Photos © Johan Persson
A notable feature of this production is its inventive use of projections and special effects, which transform the stage into a series of immersive environments. While some elements – such as the depiction of the ice realm – have been criticised for their somewhat overpowering design, and the iconic growing Christmas tree effect may feel underwhelming, the overall impact remains effective. Although the production’s design of the Stahlbaums’ home is distinctly Belle Époque rather than magical, the combination of set decoration and projections creates a novel immersive experience that captures the spirit of the story. Some in the audience, however, did wonder why the sleigh carrying Clara and the Nutcracker was shaped like an ice-carved seahorse.
The collaboration between Watkin and Smith results in a fusion of choreographic styles: while Smith injects the party scene with energetic and occasionally overly playful movement, Watkin’s more traditional approach comes to the fore in sections like the Waltz of the Buttercream Roses, where the English National Ballet dancers’ refined technique and elegance are beautifully showcased.
Swanice Luong’s portrayal of adolescent Clara is both captivating and heartfelt, perfectly capturing the character’s innocence and wonder. The Canadian artist demonstrates excellent pointe work alongside impeccable comedic timing – her dancing under the snowflakes is further enhanced by her lyrical yet youthful arm movements.
Brazilian dancer Thiago Pereira makes a remarkable debut as the Nutcracker Prince. As he transforms into a human, his deep affection for Clara is evident in the way he supports her during their first pas de deux. His effortless jumps and velvety turns add to his strong performance.
In Act Two, the dances represent sweet delicacies from various countries, such as Spanish nougat and German marzipan. However, the true highlight remains the grand pas de deux of the Sugar Plum Fairy and her Cavalier, roles which, in this version, are portrayed by the same dancers who take on the characters of Mr. and Mrs. Stahlbaum.
First soloist Julia Conway displays remarkable technical skill, with movements that radiate both strength and elegance. At times, her expression and demeanour suggest a hint of self-satisfaction, perhaps more than one might expect from the traditionally gracious Sugar Plum Fairy. Nevertheless, the crystalline precision of her dancing remains unwavering, particularly in her iconic variation.
Gareth Haw, as the Sugar Plum Fairy’s Cavalier, offered a performance that was both noble and precise, infusing the role with a grandeur befitting its regal nature. He brought a certain grandeur to the character, though at times his movements seemed slightly more restrained than one might expect. Nonetheless, Haw’s portrayal remained faithful to the character’s aristocratic essence, and his commanding stage presence was enhanced by a subtle air of paternal benevolence, a quality he carries over from his role as Clara’s father in Act One. This depth of character added a nuanced layer to his performance, maintaining both dignity and warmth throughout.
The choreographic recipe has a vague Mary Poppins-esque aftertaste, and although it occasionally lacks the magical grandeur of a production like Peter Wright’s, the result retains a layer of enchanting atmosphere: a colourful, sugary whirl that never becomes cloying.