Birmingham Royal Ballet, The Nutcracker, Birmingham Hippodrome, review: So visually effective the audience gasp

The Birmingham Royal Ballet perform this traditional festive ballet with 60 dancers and a full orchestra

Karla Doorbar as Clara in the Birmingham Royal Ballet's ‘The Nutcracker’ (Roy Smiljanic)

First formed as a box-office blockbuster in America, The Nutcracker’s commercialisation has resulted in many reimaginings. Birmingham Royal Ballet’s version is staunchly traditional, claiming to restore some of the original choreography of Ivanov’s 1892 production. John Macfarlane’s designs are stunning, his Kingdom of the Sweets a subconscious dream-scape of quotidian fragments: an edge of a fan, sunflowers and rug tassels. Throughout the show there are moments so visually effective the audience gasps, including Clara’s journeys across misted skies on the back of a large swan.

This is a sleek, well-drilled production, Sir Peter Wright’s choreography deeply ingrained in the company dancer’s bodies. In Act One, Delia Mathews is suitably majestic and graceful as Clara’s mother while Tzu-Chao Chou’s Jack-in-the-Box dances explosively; his elastic limbs and springing jumps beyond human. As the snowflakes scatter across the stage they are rather heavy on their feet; however, the four male “winds” are particularly impressive, leaping with synchronic precision.

In Act Two, Cesar Morales as the Prince brings a meditative presence to the stage; his calm demeanour typifying fantasy dream world nobility. Momoko Hirata’s Sugar Plum Fairy resembles a spinning top, pirouetting with such speed; while Céline Gittens’s vital dancing as the Rose Fairy brings a special type of warmth to the proceedings. Less satisfying was Jonathan Payn’s suburban Drosselmeyer; he doesn’t quite capture the otherworldly mystery of the powerful magician.

At Christmas time being a world-weary feminist is no fun. In The Nutcracker gendered roles proliferate as sailor-suited boys march and misbehave and smiling girls drown in ruffles. The solution is to see double: both the stereotypes and the innocent joy. It is the infectious magic of this production that impels you to do so.

Until 13 December (brb.org.uk)