BALLET REVIEW: The Nutcracker - The Grand Theatre, Leeds.

The Nutcracker is possibly the most widely performed ballet; it may for many, be the only ballet they have ever seen. This might be because of the familiarity of the Hans Christian Anderson story coupled with a music score with many sections that have found their way into popular consciousness (through TV adverts amongst other things). I would suggest that another key reason though is the artistic adaptability of The Nutcracker, very much evidenced by this production.

The Northern Ballet have a reputation for giving ballet a modern feel, evidenced by recent productions of contemporary works such as ‘Casanova’ which appeared at The Grand earlier this year. With this production, there was no attempt to re-invent the wheel neither was the original score given a serious makeover, but there was nevertheless a feeling of fresh originality.

There was not a single tutu in sight during the whole show but the audience was treated to a vibrant display of costumes that was essentially ballet nevertheless. When lines of dancers suddenly emerged from each wing clad in red and gold dresses, it was as if a splash of colour had suddenly lit the stage. The battle between the Toy Soldiers and the Mice was a set piece of theatre, the mouse costumes looking remarkably authentic, particularly those of the child dancers. In the forest scene, the frostiness of the background was echoed in shimmering white dresses in contrast to the opening scene at the palace, which included a wide range of showy individual outfits.

The staging was remarkable with a huge array of sets, involving both sophisticated drop screens (including a working door) and impressive platforms, all of which were used to great effect. The overall effects were so good that virtually no suspension of disbelief was required to see a winter forest (where it was actually snowing!) or the ballroom of a palace, in which the ‘toy figures’ emerged one by one from a huge box. Many significant set changes occurred during dances, giving the effect to the audience that from having concentrated on the dances down stage that the backdrop had magically transformed into something else. There was comedy as well, such as the Mouse King posturing in his remarkable little house, built on a separate raised stage. The entrance of the Nutcracker soldier was also handled using impressive staging.

An expert on ballet would doubtless comment on the finer points but from a lay standpoint, the dancing whilst tightly choreographed (and displaying all the commonly associated exercises of ballet) seemed to have less formality than a typical ballet production. There were extensive solo spots for principles where there was a lot of free expression whilst towards the end the entire cast produced a massed display, ensuring virtually every square inch of the stage was used. There is a place for the strict traditions of state companies, be they from London or Moscow, but Northern Ballet excel in giving a modern, creative twist to established classics such as The Nutcracker.

It is difficult to follow a precise storyline with this type of production, unaided by programme notes, but once the premise was been established, the plot (such as it was) was of secondary importance. This was a showcase of excellence in dance, costume and stagecraft, keeping the audience enthralled from start to finish. It was a full house on a Wednesday night, proving the enduring popularity of dance as a genuine creative art in sharp contrast to the tawdry populism of shows like ‘Strictly Come Dancing’ This was the kind of show to take people with scant interest in the genre to, as a demonstration of just how much fun ballet can be.

Reviewer - John Waterhouse
on - 21.12.22