Nutcracker at London Coliseum

What was the first ballet you ever saw? Chances are, it was Nutcracker. The story follows Clara, who is presented with a Nutcracker by eccentric toymaker Drosselmeyer at her family’s Christmas party. When everyone has gone to bed, the Nutcracker comes to life and takes Clara on an adventure to the land of the Sugarplum fairy.

This brand new adaption of Nutcracker takes advantage of the wonder and magic at the heart of this story. The show begins with Miniature Overture in eccentric toymaker and sweet producer Drosselymeyer’s toyshop. Flanked by two Dobby-lookalike assistants, we are immediately brought into a fantastical world where not everyone is human. Throughout the ballet, Juno Souza (Drosselmeyer) brings paternal warmth to his character, with a beaming smile and open movements that exude delight.

This Nutcracker is set in Edwardian England, and the set looks like a historical painting come to life. The detail, artistry and execution are beyond impressive. Nutcracker foreshadows Clara’s adventures early on in a knowing nod to fans. Contrasted with Drosselmeyer’s inviting storefront, a dingy cheesemaker’s door opens and out steps Uromys Geimsewer (James Streeter), a Fagin-inspired character complete with a gang of thieving raggamuffins. This Dickensian gang of thieves have swishing tails under their coats to signify their later role as the Rat King and his army.

Clara takes a more active role in this version, and an element also foreshadowed early on as Suffragettes march around the streets carrying “Votes for Women” signs. Other versions of Nutcracker turn Clara into a passive passenger, but Ivana Bueno (Adolescent Clara) brings a cheeky curiosity and activeness to her role which is refreshing – for once, it’s her story, not the Nutcracker’s. It’s also a nice touch that Clara begins this ballet as an actual child, as it makes it clear that this is a child’s dream world. Having Clara then age up adds an extra layer of wonder to this story. Clara is not just in a fantasy world – she is a fantasy version of herself. 

The Christmas Market and Clara’s house are perfectly of their time, and the fantasy elements are no less scrupulous. The Waltz of the Snowflakes is already such an awe-inspiring sentimental score, and it’s further heightened here with a boys choir (in costume) doing a live rendition of the “aww-awww-awww-aw-awww” part of the music while a sleigh driven by an icy snow horse (in a creative take on Santa’s mode of transport) takes them to the land of the Sugar Plum Fairy. 

While the set design and story steal the show somewhat, the dancing is as effortless and the partnered jump lifts are as gasp-inducing as you would expect from a company of this calibre. The Arabian Dance, a sultry, feather-light score, represents Sahlab: an Egyptian hot orchid root milk with cinnamon. Minju Kang is perfect as sultry cream, flanked by two cinnamon rolls in brown unitards (Vsevold Maievskti and Jose Maria Lorca Menchon). This sensual number is intimate and silky, and the visual representation of creamy milk and cinnamon adds a flavour you can almost taste on your tongue. The Russian Dance is represented by Makivyn (a Ukrainian poppyseed roll) with spiralling white and black outfits for this energetic, jump-after-leap number, which is a subtle but appreciated choice.

Nutcracker is often a child’s first experience of ballet. This flawless take combines a genuine, almost tear-inducing childlike wonder with nods to our current world. Every facet works together to create a truly remarkable, refreshing and magical adaption. If anyone is going to see Nutcracker for the first time, let it be this version.

Sophia Moss
Photos: Johan Persson

Nutcracker is at London Coliseum from 14^th December 2024 until 12^th January 2025. For further information or to book visit the theatre’s website here.

Watch the trailer for Nutcracker at London Coliseum here: