The Nutcracker
Eden Court Theatre, Inverness, 22/01/2024
The Nutcracker, Scottish Ballet
Ballet Companies worldwide perform ‘The Nutcracker’ at Christmas time. Not only is it a seasonal treat but it represents sure-fire income in these difficult times for the arts.
Dating back to the premier at the Marinsky Theatre in St Petersburg in 1892 Tchaikovsky was initially reluctant to take the commission having conducted the opening of Carnegie Hall but the result was the creation of a gorgeous score and unforgettable tunes recognised the world over. He felt more connected to Western Europe but created divertissements in the second act to entertain the Czar and his luxurious lifestyle. He worked with Marius Petipa, one of the foremost influential figures of classical ballet, whose signature works are ‘Sleeping Beauty’, ‘Swan Lake’, ‘Giselle’, ‘Coppelia’ and ‘La Bayadere’. However, his work was handed down through principal dancers and ballet masters through the ages before notation and still exists today. His is the basis for the Royal Ballet’s production but companies worldwide have created their own take as long as they stick to the original story by E T A Hoffman, adapted by Alexandra Dumas. There have been many famous productions including New York City Ballets version by George Balanchine with many children, recently shown on Sky Arts. The Royal Ballet has a definitive version by Peter Wright after Lev Ivanov with its Russian Angels and Christmas tree that grows. Mathew Bourne had snowflakes entering out of giant fridges and English National Ballet recently launched a new slightly overblown production by the incoming artistic director Aaron S. Watkin.
Scottish Ballet have created a new version under the artistic direction of Christopher Hampson which can stand up to previous incarnations. It is sumptuous, charming, magical and beautifully danced by this dynamic company. I would have gone back and watched it again and again, but it is sold out. Well deserved. They have a sure-fire hit. Hampson has also taken the opportunity to grow the choreographic skills of the company. For instance, the second half divertissements are created by the performers. This goes back to the original premise in Russia. So Bon Bons from France by principal Jessica Fyve, Chocolate from Spain by soloist Javier Andreu, Candy Canes by resident choreographer Sophie Laplane (comic Russian clowns, Tea from China by Annie Au, the English by Nicholas Shoesmith, which I had not seen included before). A jolly hornpipe with spectacular jumps. And of course, the first half party and the transition snowflakes created by Christopher Hampson with his trademark flowing style and storytelling. I loved the grandfather is turned into two old ladies and the front cloth opening with the urchin asking for sweets from a disguised Drosselmayer under his spectacular cloak. His magic tricks entertaining the gathered grand party were spectacular too. Perhaps he is a member of The Magic Circle and is really Dynamo in disguise.
Costumes and sets by Lez Brotherston were gorgeously spectacular, seamlessly creating different worlds. From someone who creates work for Matthew Bourne you expected nothing less. He does like a dark moon in the sky. The land of sweets with its crazy number of baubles (a technician’s nightmare) and the surprise finale were terrific. The dancers and company fully embrace the story, taking on multiple roles whilst performing on a smaller stage than previous venues. The children, especially the youngest members, and especially Clara, were delightful. The sugar plum fairy solo and the grand pas de deux, both challenging pieces, were performed by Marge Hendrick with perfect pointe work and line.
It is a special treat to see a ballet danced with a full orchestra. Many famous conductors are not suited to the tempo of dance, but the Scottish Ballet Orchestra got it right. They now have a proper Celesta bought by a generous bequest and the Dance of the Sugar Plum Fairy was a delight. Stand out also was the gorgeous harp playing by Meredith McCracken.
If you can get a ticket travel to Aberdeen or Newcastle to catch this terrific production. I can’t wait for the premier of ‘Mary Queen of Scots’ a new ballet premiering at the Edinburgh International festival and touring Autumn 2025
