THE NUTCRACKER

Theatre Royal Brighton

★★

“the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical”

This most famous of fantasy ballets for all the family begins as night falls on Christmas Eve. In this production by the Bulgarian Varna International Ballet, under the artistic direction of Daniela Dimova, featuring an all-adult company, the ensemble sets off for the Christmas Eve party, capturing a sense of childhood joy. The dancers infuse energy and humour into scenes of children playing in the snow, which carries over into the lively party scene. However, the magic is somewhat diminished by photographic projections instead of physical scenery changes—understandable given Varna’s ambitious touring schedule. While some projections are effective (such as toys leaping from an onscreen dollhouse into live-action counterparts), others feel generic and lack atmosphere. Set design is credited to Asya Stoimenova.

Toymaker Herr Drosselmeyer, hidden behind an elaborate Venetian-style mask, signals the start of Marie’s dreamlike adventure. His masked mechanical dolls perform intricate movements, but their faces are obscured, making it difficult to connect with the characters. Dmitry Tcherbadzhi’s costumes are a mixed success—Marie’s layered two-tone blue dress ripples beautifully in dance, creating a simple yet striking visual. In contrast, the Mouse King’s costume, especially the netted skirt, obscures his line, diminishing his physical presence. Traditional Nutcracker transformations are handled simply but effectively, such as Drosselmeyer’s cloak concealing the shift from doll to human Prince.

As midnight strikes, animated clock projections, a triangle from the orchestra, and a growing onscreen Christmas tree transition us into Marie’s dream world. The ensuing battle between mice and soldiers is one of the production’s most striking moments, with strong choreography by Vasily Vainonen (revised by Sergey Bobrov) and projections of miniature mice and soldiers advancing across oversized Christmas decorations. The Mouse King (Konsta Roos) commands authority, though his costume limits his physicality. The Snowflake corps de ballet, dressed in shimmering costumes, closes the first act with precision and grace, offering a magical moment.

The second act opens in the Kingdom of Sweets. While the cultural dances—Spanish, Chinese, Arabic, Russian, and French—are colourful, they are problematic. Some costumes feel stereotypical, while others mix cultural elements confusingly. Dancers in the Spanish and Chinese sections are hindered by accessories that restrict movement. While the sequence highlights the dancers’ technical skill, it lacks narrative cohesion, feeling more like a disconnected series of solos than part of Marie’s journey.

Most surprising is the omission of the Sugar Plum Fairy. Instead, Marie and the Prince (Giovanni Pompei) perform the iconic pas de deux. While technically fine, it lacks the contrast and variation a separate Sugar Plum Fairy would have provided. The chemistry between Marie and the Prince is underwhelming, and there are some awkward lifts. Marie’s costume change—from a simple ensemble to a more structured tutu and tiara—signals maturity in her character’s journey, but the emotional depth of this transformation is missing. Pompei delivers a strong solo sequence of grand jetés, followed by Marie’s solos and a final pas de deux and corps ensemble. Though technically polished, the extended conclusion feels visually repetitive.

At a time when many touring productions rely on recorded music, it was refreshing to hear a live orchestra. Despite being a relatively small 20-piece ensemble, under the baton of Music Director Peter Tuleshkov, they delivered a lively, heartfelt performance of Tchaikovsky’s beloved score, adding warmth and authenticity to the evening.

Ultimately, this production of The Nutcracker is a competent and visually colourful rendition that plays it safe. The company’s technical precision is evident, particularly in the Snowflake scene, but the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical. The audience gets what is expected from a touring ballet company staging three different productions on consecutive nights—competence, but little surprise or boundary-pushing innovation.

It was not always clear which dancers were performing, as the programme suggested rotation throughout the tour—or even within the same evening. This may explain the occasional lack of polish and chemistry between dancers.

THE NUTCRACKER

Theatre Royal Brighton then UK Tour continues (at each venue there is a performance of The Nutcracker, Swan Lake and Romeo & Juliet)

Reviewed on 29th January 2025

by Ellen Cheshire

More reviews from Ellen:

THE PIRATES OF PENZANCE | ★★★½ | CHICHESTER FESTIVAL THEATRE | January 2025

BEAUTY AND THE BEAST | ★★★★ | NEW THEATRE ROYAL | December 2024

REDLANDS | ★★★★ | CHICHESTER FESTIVAL THEATRE | September 2024

BARISTA THE MUSICAL | ★★★ | CAPITOL THEATRE | September 2024

THE BELT | ★★★★★ | THE CORONET THEATRE | September 2024

THE WEYARD SISTERS | ★★ | RIVERSIDE STUDIOS | August 2024

THE NUTCRACKER

★★★

“Claire Louise Amias delivers a committed central performance, commanding the space”

Great for cold and dark winter nights, Haunted Shadows brings three Victorian and early-twentieth-century gothic tales to life, thanks to stage adaptations by performer Claire Louise Amias and director Jonathan Rigby, supported by research associate Elliott Amias. More famous for The Railway Children, mentioned in a comedic passing reference, Edith Nesbit also penned a great many horror stories, three of which are presented here.

Leaning into the spookiness of the source material, the show is replete with eerie coloured lighting changes, designed by Steve Lowe, that mimic the descent of darkness or the breaking of dawn, or to evoke the distressed mental state of the narrators of the stories. The lighting occasionally has the feel of a torch held under the chin – characteristic of many a campfire ghost storytelling – and works extremely well in this context. In combination with the grisly sound effects (knives, demonic breathing), the work of sound designer Keri Chesser, these elements add to the over-the-top theatre of the performance, eliciting thrilled laughter the audience.

Claire Louise Amias delivers a committed central performance, commanding the space around the spare staging consisting of a chair with dolls and a trunk from which she takes the props – a shawl, a decorative ribbon – that serve to accessorise her austere black dress, the work of costume designer Anna Sorensen Sargent. Using little more that these props, she brings to life the narrators of three tales, as well as Edith Nesbit herself who is the storyteller of the framing narrative. While perhaps appearing a little under-rehearsed at times, she is nevertheless a compelling narrator and completely in-tune with the nature of the performance, complete with gasps and wide-eyed gazes of fright directed at the audience. Her delivery is strong, and her physical performance is also convincing. She embodies various characters as she relates with terror the events of the tales, recoiling at bodies and barely daring to look at apparitions.

The three tales themselves are interesting, as well as the stories from Edith’s youth which are presented as catalysing her interest in the macabre. To my mind the third story and final memory from childhood were the strongest, relying on the depravity committed by humans, rather than the malign supernatural forces that may or may not be the antagonists of other episodes. The final movement of the play also made some of the best use of the lighting design, with the flickering of a fire a particularly effective device to draw in the audience. I felt, however, that the payoff for the first tale could have been stronger, despite being aided the amusing use of caricatured evil of the ‘shadow sighs’.

Haunted Shadows is worth seeing for its Victorian atmosphere, played-for-comedy horror, and for its ability to return us to the ghost stories of childhood sleepovers.

THE NUTCRACKER

Theatre Royal Brighton

★★

“the lack of strong storytelling and emotional connection leaves it feeling more proficient than magical”

THE NUTCRACKER

Theatre Royal Brighton then UK Tour continues (at each venue there is a performance of The Nutcracker, Swan Lake and Romeo & Juliet)

Reviewed on 29th January 2025

by Ellen Cheshire

More reviews from Ellen:

THE NUTCRACKER

THE NUTCRACKER

THE NUTCRACKER

HAUNTED SHADOWS

White Bear Theatre

★★★

“Claire Louise Amias delivers a committed central performance, commanding the space”

HAUNTED SHADOWS

White Bear Theatre

Reviewed on 29th January 2025

by Rob Tomlinson

Previously reviewed at this venue:

HAUNTED SHADOWS

HAUNTED SHADOWS

HAUNTED SHADOWS