Tag Archives: Marius Petipa

THE NUTCRACKER

★★

UK Tour

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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

THE NUTCRACKER

THE NUTCRACKER

 

 

BALLET NIGHTS

★★★★

Lanterns Studio Theatre

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BALLET NIGHTS at Lanterns Studio Theatre

★★★★

“a unique experience to get up close to some of the most high-profile and promising dancers of the moment”

Jamiel Devernay-Laurence is back this spring with another programme of emerging and established dance talent at the Lanterns Studio Theatre. With the format now fairly well established, the production and compering is slicker, yet it is still the quality of the performers and choreographers across the programme that makes this show unique.

Where else can you see top tier company dancers this close and personal? Yasmine Naghdi and Reece Clarke, both principals with the Royal Ballet, headline this programme. The show closer, the famous balcony Pas de Deux from Kenneth Macmillan’s Romeo and Juliet, was first danced by Naghdi on the Opera House stage aged just 22. Approaching a decade later, she is still convincingly the lovestruck teen opposite Clarke’s long limbed lothario. However, it is their first appearance in a lesser known piece that really shows off their athleticism. The Spring Waters Pas de Deux was choreographed by Asaf Messerer for the Bolshoi Ballet in the 1950s. It’s supposedly legendary for astounding American audiences with how powerful ballet could be – a brilliant companion piece to Macmillan’s more emotive choreography. Clarke and Naghdi undoubtedly rise to the challenge of the piece, throwing themselves across the full width of the studio stage effortlessly. The final lift is a dazzling combination of beauty and technical skill – with Naghdi appearing to float above Clarke’s head as they both glide off the stage.

Where the classical elements demonstrate beauty and grace – excitement and ingenuity comes from the contemporary works. Jordan James Bridge’s self conceived And So the Rhythm Goes, is a stand out and back on this programme after first appearing in Ballet Nights 001. Performed to an electronic track by British composer Rival Consoles, his movements are spellbinding, seamlessly blending classical traditions with hip hop and queer club culture in a way that is truly bewitching. He is without doubt a talent to watch.

Pett|Clausen-Knight’s Nerve Wire is exactly as the name suggests – a bright spark of a piece that will leave you on the edge of your seat. Again conceived and performed by the artists, the piece is full to the brim of jerky movements and reactions as if the pair are electricity personified. Then the music cuts, but the movement continues, leaving you anxiously waiting to see how it ends. It’s daring and dynamic choreography, portraying a maturity and confidence surely built over the last five working together as Pett|Clausen-Knight and during their time together at Company Wayne MacGregor.

 

 

Watson and Woodvine are just starting out on their own journey as a young duo choreographing and performing together. Their piece displays some nice ideas, pretty lifts and partner work where both of their long hair intertwines so that you almost lose who is who. But the piece could benefit from some tightening up to avoid the raw, youthful energy from verging on the wild and messy.

Wildness is harnessed by both Laurel Dalley Smith and Felicity Chadwick in two pieces both created in lockdown. Similar themes of isolation and a need to explore space play out in different ways, but both are always in control. In Laurel’s piece, a solo from Seven Portraits by Sir Robert Cohan created for her, she has an animal-like quality, eyes darting, head twitching, exploring a woodland space but interrupting herself as if startled by her own shadow. Chadwick on the other hand, performing 324a choreographed by Joshua Junker, explores the space with frenzied movement, seemingly battling against the constraints of a small flat by stretching and expanding in to all that is available.

But that’s not all. There are also appearances from Chloe Keneally, performer with the English National Ballet in two traditional solos from Paquita and Sleeping Beauty, and a ‘mystery guest’, who is gratuitously revealed to be Devernay-Laurence’s brother, tackling a tap number. House pianist Viktor Erik Emanuel is also back, despite only accompanying one performance, 324a, opening both acts with solos on the gorgeous grand piano gifted by Elton John.

Ballet Nights offers a unique experience to get up close to some of the most high-profile and promising dancers of the moment. The unbeatable view, and chance to see both classic pieces and contemporary works is a thrill. It may not all blow your socks off – but there is almost a guarantee something will.

 


BALLET NIGHTS at Lanterns Studio Theatre

Reviewed on 24th February 2024

by Amber Woodward

Photography by Deborah Jaffe

 

 

 

Previously reviewed at this venue:

BALLET NIGHTS 2023 | ★★★★★ | September 2023

BALLET NIGHTS

BALLET NIGHTS

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