Royal Albert Hall, London
December 29, 2024
Nothing says Christmas more than a performance of The Nutcracker, and Birmingham Royal Ballet’s Royal Albert Hall production does not disappoint. With a few changes from the Birmingham production, made necessary by the Hall itself, overall, it is a sumptuous delight, full of magical effects, and some great dancing.
The first act, setting the Christmas scene with household festivities, present giving and merry making, segways seamlessly into the dreamworld of Clara, the eldest daughter of the Stahlbaum family. Given a nutcracker doll by her godfather, it comes to life and battles a now human sized rat, given as a present to the young brother. The godfather, Drosselmeyer, a doll maker, comes to the rescue, and Clara is whisked away to the fairytale Kingdom of the Sugar Plum Fairy.
Photo Christie Goodwin
Throughout Act One, the dancing was excellent. The children, from the Royal Ballet Junior Associates, are incredibly well rehearsed, and perform as professionals. Rory Mackay is a suitably dark presence as Drosselmeyer, with Jonathan Payn a wholly believable grandfather.
But the stand-out star, both in terms of her dancing and her acting, was Beatrice Parma as Clara. She lights-up the stage, her dancing is a joy to watch, technically excellent and with a soft fluidity.
The act ends in a flurry of ‘snow’ falling on the dancers and audience, leaving the gentle spell of the fairytale behind.
Photo Christie Goodwin
Sadly, Act Two doesn’t quite have the same enchantment factor. Once in the land of the Sugar Plum Fairy, a variety of characters dance for and with Clara. While everyone performed well, none were outstanding, and there seemed to be one or two slips here and there.
The Grand pas de deux, which should be the highlight of the show, underwhelmed on this occasion. Momoko Hirata and Mathias Dingman looked tense and, at times, uncomfortable. Strange as both have danced it many, many times. And while Hirata danced well technically, she didn’t touch the heart.
The costumes, designed by John Macfarlane are wonderful, as is the lighting by Bobby Aitkins, and the projections by 59 Productions. The Royal Ballet Sinfonia conducted by Paul Murphy played magnificently, and rightly got a standing ovation. The setting, in the ¾-round, works surprisingly well.
This is an enjoyable rendition of The Nutcracker, one that will send old and young alike home happy. It was just a pity that Act Two fell a little short of the opening half. Nevertheless, it is well worth going to see if it returns next year.