Alice Bain 

Scottish Ballet: The Nutcracker review – a beautiful moonlit experience

Tchaikovsky’s make-believe kingdoms shimmer with considerable fairy cool in a sophisticated and elegant production, writes Alice Bain
  
  

Erik Cavallari as the Prince and Sophie Martin as the Sugar Plum Fairy in Scottish Ballet's The Nutcracker.
Endearing … Erik Cavallari as the Prince and Sophie Martin as the Sugar Plum Fairy. Photograph: Andy Ross

This new reworking of Scottish Ballet founder choreographer Peter Darrell’s much-loved 1973 version pleases its midwinter audience. Sophie Martin’s sparkly-eyed confidence creates a perfect pirouetting Sugar Plum, and Eve Mutso is a gracefully warm Snow Queen. Both dancers inhabit the make-believe kingdoms rustled up by Tchaikovsky’s brilliant and infinitely quoted score with considerable fairy cool.

The other star of the show is the fabulously gilded design update by Lez Brotherston, longtime collaborator of Matthew Bourne and a former art college student of Philip Prowse, designer on Darrell’s original Nutcracker. Taking the original to sophisticated levels of elegance, his interpretation neither spoils the fun nor spills over the top. All is right with his vision: the cavernous drawing room of sumptuous red and green drapes, the splashes of Manet black and midnight blue, snug-fit brocade, shot silk and tight-spun chignons, together fabricate a delectable 19th-century faux French chic at the aristocratic apartments, with a constellation of Christmas tree baubles to follow in the Land of Sweets. This style is substance.

And welcomingly so; the simple story begs to be dressed up. As the family sleeps after their Christmas party, daughter Clara (eager youngster Amy Pollock) is sent by Drosselmeyer, the grizzly magician, to an adult dreamworld of rats, shape-shifting princes and dancing snowflake fairies. With a frisson of danger signalled by the flash of Drosselmeyer’s electric blue cape, thankfully diverted, the rats (the children sporting realistic mousy heads) run amok, bundling up like Keystone Cops. Pity that the climactic scuffle, during which Clara kills King Rat, feels a bit of a muddle.

The company’s performance, much of it en pointe, in parts lacks precision and spice, particularly in the spacing and pacing of some second-half set pieces, but full assurance of execution will surely build swiftly on tour. An endearing, beautiful, moonlit experience: a production to be savoured.

• Touring till 14 February. Details: Scottish Ballet.

 

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