★★

“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 PIRATES OF PENZANCE

Chichester Festival Theatre

★★★½

“a lively and enjoyable take on a beloved operetta”

Donna Stirrup’s new production of The Pirates of Penzance offers a fresh perspective on Gilbert and Sullivan’s beloved operetta. Produced by Pirates (Penzance) Ltd in association with Tarantara Productions Ltd, this staging features a nearly 50-strong company of singers and musicians, delivering Sullivan’s intricate score and Gilbert’s witty wordplay with remarkable energy. The result is a polished rendition that retains much of the charm of the original work, though it occasionally stumbles in its attempt to innovate.

Stirrup’s decision to move the action from the late 19th century to 1919 raises intriguing questions. In the programme, she asks, “Do pirates always have to be done with frilly shirts and bandanas?” The answer here is definitively no. Laura Jane Stanfield’s costume design is more Peaky Blinders than Pirates of the Caribbean, dressing the Pirate King in a sharply cut three-piece suit, while his crew sport muted, earthy tones and chunky wool jumpers. Flat caps abound, and the occasional eye patch or hook appear as self-styled accessories, markers of their identity as “pirates.” This aesthetic repositioning casts the pirates as post-WWI figures—perhaps damaged soldiers or opportunistic profiteers—adding an intriguing layer to the story of Frederic, a young man caught between duty to his former comrades and his newfound love.

Frederic, having completed his accidental apprenticeship with the pirates, resolves to leave their company and lead an honest life. He soon falls for Mabel, one of the daughters of the eccentric Major General. However, his freedom is short-lived when he learns he was born on 29 February, meaning he is still bound to the pirates for another 60 years. This revelation sets the stage for a playful mix of romance, comedy, and farcical twists, leading to a light-hearted resolution.

While the concept of the pirates as post-war figures is intriguing, it remains underexplored. Conductor Martin Handley hints in the programme that the pirates are “damaged goods,” scarred by their experiences, but this idea is not fully developed in the performances or direction. As a result, the pirates’ motivations and back stories feel ambiguous, making the post-war context feel more like a stylistic choice than a fully realised reinterpretation.

The performances, however, bring energy and charisma to the stage. Jonathan Eyers commands attention as the Pirate King, his rich baritone lending gravitas to the role. Guy Elliott’s Frederic is earnest and engaging, his bespectacled appearance suggesting more Oxbridge graduate than indentured pirate. Sioned Gwen Davies makes a striking Ruth, the woman who raised Frederic, opening the show slumped in a battered leather chair, smoking and drinking. Dressed in luxurious black and green velvet, with bold patterns and in one scene a dramatic hat adorned with feathers and a parrot’s head, she exudes both grit and a touch of flamboyance.

Ellie Laugharne’s Mabel brings emotional depth and vocal clarity to the role, particularly in ‘Poor Wand’ring One,’ which she performs with a delightful sense of parody. Presented as bookish and in mourning, she is contrasted by her more frivolous sisters, whose demeanour (and costuming) provide a light-hearted foil. Barry Clark’s Major General is a comedic highlight, delivering the iconic ‘I Am the Very Model of a Modern Major General’ with gusto. Dressed in a red-and-white striped bathing suit, Union Jack socks, and brown sandals, his struggles with a deckchair add to the hilarity. The bumbling police force also provides plenty of laughs in their numbers ‘Tarantara’ and ‘A Policeman’s Lot Is Not a Happy One,’ with their antics, including the relief of removing their boots and sharing a chocolate bar, bringing additional levity.

Stanfield’s minimalist set design supports the action effectively, with a raised wooden pontoon doubling as a pirate ship, a Cornish beach, and the Major General’s (bought) ancestral home. Simple backdrops—a ship’s sail, a ‘Welcome to Penzance’ train poster, and a Union Jack—help establish the various settings. The orchestra, visible behind the backdrops, performs with vibrancy and sensitivity under Handley’s baton, allowing Sullivan’s score to shine without overpowering the singers.

While some of the wordplay may be lost, either through enunciation or the theatre’s acoustics, the vocal performances are exemplary, and the staging is inventive. The reimagining of the time setting, though interesting, doesn’t fully explore the post-war themes, yet the production still delivers plenty of humour, energy, and exceptional musicality. Ultimately, this Pirates of Penzance is a lively and enjoyable take on a beloved operetta, with spirited performances that make for a thoroughly delightful night out.

Tag Archives: Ellen Cheshire

THE NUTCRACKER

★★

UK Tour

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 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

THE NUTCRACKER

THE NUTCRACKER

THE PIRATES OF PENZANCE

★★★½

Chichester Festival Theatre

THE PIRATES OF PENZANCE

Chichester Festival Theatre

★★★½

“a lively and enjoyable take on a beloved operetta”