London Coliseum Theatre | ★★★★✩

If you are thinking about taking a child to a ballet for the first time, Nutcracker is the ideal one to choose. The music is pretty and, at this time of year, extremely familiar, as you cannot turn on the radio or television without hearing the Sugar Plum Fairy’s tinkling theme, the joyful Russian Trepak or the Dance of the Mirlitons (which will, for those of us of a certain age, forever be associated with Cadbury’s fruit and nut chocolate).
The English National Ballet (ENB) is back at the London Coliseum with its version of this favourite Tchaikovsky classic. I have seen it and other productions many times, so I took along my five-year-old grandson for his first-ever trip to a ballet to get his expert opinion on this annual winter treat. The good news is that the company has arranged plenty of matinees during the school holidays, so if you do not want a late night out with the kiddies, getting tickets for an afternoon show should not be a problem — subject, of course, to any Covid restrictions or cancellations coming in.
This production is by Wayne Eagling (a former artistic director of the ENB and once a distinguished Principal at the Royal Ballet). Designs are by Peter Farmer, who has created some sparkling winter landscapes and a pretty Edwardian party scene. Although the narrative may be a little confusing at times, the company’s dancing, under the sure leadership of Tamara Rojo, is wonderful. The women at the Act I party look glamorous and elegant, while the children dance sweetly and the cuteness factor is not overdone.
In this version, the adult Clara and Sugar Plum Fairy are danced by the same ballerina, and at Monday’s matinee Katja Khaniukova shone in the dual role. In the famous Act II variation, the speed of her bourrees is particularly impressive and there is a lovely melting quality to her adage. Her Prince was Aitor Arrieta, a good match for her in height, and secure in his own difficult solo.
There are some glorious moments in the ballet: the dancers in the Waltz of the Snowflakes are crisp and precise, while the Act II Waltz of the Flowers is another highlight, with all the women in pink and rose-coloured floaty tutus.
Time and again my eye was drawn to Precious Adams, whose beautiful port de bras and expansive style make her a joy to watch. The character dances are performed with verve, and the costumes are delightful, while the rats who appear at the end of Act I look suitably scary …not too scary for my grandson though, who thought they, along with the giant glowing Christmas tree, were “the best bit”.
If this Nutcracker lacks some of the magic of the Royal Ballet’s version, which remains the gold standard of Nutcracker productions, it still contains much to savour and Tchaikovsky’s sparkling score, under Daniel Parkinson’s baton, is always a treat to hear.