The Nutcracker - Review

London Coliseum, London

****

Music by Pyotr Ilyich Tchaikovsky

Choreographed by Aaron S. Watkin and Arielle Smith

The English National Ballet

In a gorgeous display of Christmas tradition, the English National Ballet bring Tchaikovsky’s The Nutcracker to the London Coliseum for the holiday season. Aaron S. Watkin and Arielle Smith co-choreograph the piece to deliver an evening of stunning dance, music and spectacle.

The fairytale dream of the story is beautifully realised by the ballet’s company and creatives. A roster of children dance as the young Clara. On the night of this review, Delilah Wiggins was on stage, and as she fell into a deep sleep following a beautifully danced party, Ivana Bueno took over the role of the adolescent Clara, with Paulo Rodrigues playing the Nutcracker Prince who whisks her off to the enchanted Land of Sweets and Delights. Their departure, flying off in a magical sleigh drawn by a seahorse, was but one of the ballet’s stunning design touches from Dick Bird.

Act two plays out entirely in the land of sweets, where Bird has created a staging that is as visually satisfying as a box of chocolates! All sorts of confection from around the world are danced to Tchaikovsky’s timeless tunes with a corps of Wiggins’s juniors, all from the Adagio School of Dance performing a great routine as the contents of a box of Ballet’s Liquorice Allsorts. The Nutcracker's melodies of course remain a reminder of just how much the Russian composer’s music has imprinted itself onto our consciousness.

Bird’s visuals along with Leo Flint’s video designs are breathtaking, and as Sangeun Lee brings the evening’s ballet-work to a crescendo with her Dance of The Sugar Plum Fairy, the moment is exquisite.

Technically wonderful, and with the English National Ballet Philharmonic under the baton of Maria Seletskaja sounding delectable, The Nutcracker is a fabulous festive treat.

Runs until 11th January 2026

Photo credit: Johan Persson

Matthew Bourne's Swan Lake - The Next Generation - Review

Sadler's Wells, London

*****

Composed by Pyotr Ilyich Tchaikovsky

Directed and choreographed by Matthew Bourne

The Company

Celebrating its 30th anniversary, Matthew Bourne’s Swan Lake, now badged “The Next Generation”, plays at Sadler’s Wells over the festive season. This remarkable ballet that has literally introduced and inspired generations of young people into the world of dance remains a radical re-imagination of the classic gothic fantasy.

Bourne’s interpretation veers away from magic and enchantment. His is a modern world of challenged mental health, of society’s demanding expectations, and of a young Prince grappling to define his sexuality – all danced to Tchaikovsky’s music.

On the night of this review The Prince was magnificently danced by Stephen Murray. The show’s principal dancer however is given a gruelling two-role responsibility with this review seeing Harrison Dowzell take the parts of both The Swan and The Stranger. Dowzell is sensational throughout. His Swan, a creation of The Prince’s troubled mind, moves with an avian power and grace that is compelling. Matthew Bourne’s interpretation is very dark, with a tragic climax to the show that reflects Dowzell’s hypnotic influence over the damaged young Prince.

The complementing role that falls to Dowzell is as the charismatic Stranger who appears at the palace ball. Teeming with testosterone, Dowzell asserts himself as the alpha human male, truly the balls of the ball, sweeping all the Princesses - and then the Prince – off their feet. Dowzell’s contribution to an evening of scorching dance-fuelled drama is simply breathtaking.

Of course, it is not just The Swan that stuns. As Bourne’s corps of Swans, all bare-chested and clad in Lez Brotherston’s now famous swan-leg costumes fill the stage, the beauty of the director's vision is ingenious. Their perfect poise and movement only heightening the painful poignancy of the Prince’s mental decline. Rarely have a flock of birds looked so ripped!

Ashley Shaw danced The Queen for this performance as Katrina Lyndon played The Girlfriend. Shaw has long impressed on these pages in her work for Bourne – here, supported by subtle hair and makeup enhancements, she convincingly plays a role way beyond her years as the matriarch emotionally disconnected from her damaged son. Shaw shows sheer talent in a critically important supporting role. Lyndon (also the show’s dance captain) makes the most of a slighter role, mixing moments of comedy with perfectly weighted vacuity as she delivers the complex part of the young woman whom The Prince, at first, so passionately desires.

Brotherston’s set design is, as always, a treat, while in the pit, Benjamin Pope conducts the New Adventures Orchestra through a fabulous delivery of Tchaikovsky’s work. Matthew Bourne’s Swan Lake remains a chillingly exhilarating evening of dance.

Runs until 26th January 2025 then on tour

Photo credit: Johan Persson

Swan Lake - Review

Churchill Theatre, Bromley

*

Music by Pyotr Ilyich Tchaikovsky

Swan Lake, like any classic work of art, stimulates a lot of expectation. Sadly however, on this showing, the International Classic Ballet Theatre fail to deliver.

The sloppy lack of co-ordination between the Swan maidens gave an air of hectic chaos rather than elegant beauty, with Prince Siegfried struggling to lift his Swan Princess. Even then, Odette's performance failed to stand out against her corps de ballet.

The most impressive performance on the night came from the Jester, whose movement was graceful and precise.

Elsewhere the costumes seemed amateur, the scenery was uninspiring lacking even a fog machine to create the illusion of the enchanted lake. There was barely any contrast between the settings of the lake and the palace, with a desperately disappointing climax to the tale.

The printed programme failed to name either the (rather good) orchestra or the dancers.

All in all, a lame duck.

Runs until 14th January, then tours

Nutcracker - Review

Coliseum, London


****


Music by Pyotr Ilyich Tchaikovsky
Choreographed by Wayne Eagling

One of the best-loved ballets, Nutcracker returns to London’s Coliseum and is a real festive treat from start to finish. 

Wayne Eagling’s lavish production for the English National Ballet, which premiered in 2010, is set on Christmas Eve. A young Clara is enjoying her parents’ Christmas party, where she is gifted a Nutcracker doll by her godfather Drosselmeyer, toymaker and magician, and shares a dance with his nephew. Later that night she dreams of an enchanted world with Nutcracker, who becomes Drosselmeyer’s nephew, the evil Mouse King and his army, and the Sugar Plum Fairy and her prince. 

Tchaikovsky’s score is brought to life by the English National Ballet Philharmonic Orchestra and is paired with fine performances from members of the English National Ballet. Rina Kanehara is graceful and elegant as adult Clara, and shares brilliant chemistry with both Fernando Carratalá Coloma as the Nutcracker and Jeffrey Cirio as Drosselmeyer’s nephew. The Sugar Plum Fairy’s pas de deux with Cirio was one of the show’s highlights. Credit must also go to the young performers from Tring Park School for the Performing Arts, sure to be stars of the future, particularly the young Clara and Freddie, danced by Sophie Carter and Oscar Williams respectively.

This Christmas classic is a feast for the eyes thanks to the spectacular set and a wealth of stunning costumes courtesy of Peter Farmer, including the Sugar Plum Fairy’s beautiful Swarovski-studded tutu. It’s a somewhat dark production at times, with the evil Mouse King making his presence known even in the second act, but there are warm moments tinged with humour, notably during a winter scene complete with snowball fights and ice skating mishaps. It is in the second act that the production really comes into its own, with dances from around the world followed by the Waltz of the Flowers all showcasing the talents of the English National Ballet. 

At times it does get confusing with the Nutcracker and Dr Drosselmeyer’s nephew switching back and forth, particularly for younger members of the audience, and a slight niggle is that the hideous Mouse King does outstay his welcome in Act II. That said, Nutcracker is a charming and enchanting production sure to entertain and inspire people of all ages. 

There may be three versions of Nutcracker on in London this Christmas, but a standout company of dancers, magnificent score and the lavish surroundings of London’s Coliseum all combine to ensure that this festive treat is not-to-be-missed!

Booking until 29th December

Reviewed by Kirsty Herrington

Matthew Bourne's Swan Lake - Review

Sadler’s Wells, London


****

Directed by Matthew Bourne

Will Bozier and Ensemble

As one of dance’s most iconic productions, Matthew Bourne’s Swan Lake returns home to a rapturous reception. The story of The Prince, starved of love and chained by duty, who finally finds love and acceptance in an unlikely place, is a tragedy. Yet Bourne’s trademark injection of comedy is dialled up tenfold in this production, with laughs drawn from staging (a mechanical corgi), performances (notably The Girlfriend, played in this performance by Carrie Willis) and premise (notably the ballet performance watched by the royals, poking fun at traditional ballet stereotypes).

While the plot scurries along, the most striking elements remain those that feature The Swan and his herd. Such is the iconography of this character that when he finally makes an appearance in Act 2, perfectly paired with Tchaikovsky’s quintessential score, there is a frisson of excitement in the audience.

The swans are truly extraordinary. Their casting as male dancers, coupled with their costuming, enables Bourne to perfectly capture their grace, ferocity and strength. This also serves as an homage to the athleticism of a dancer, usually concealed or, at the very least, downplayed.

Yet there are times where it’s clear that a larger stage is required for the swan troupe, particularly in A City Park; it simply feels that it has outgrown its roots. That aside, the stage is awash with exquisite costuming, opulent set design and explosive choreography.

Individually, the Prince (a sweet and earnest Dominic North) and The Swan (the powerful Will Bozier) are stunning. Together, they are not a typical pairing - but that serves only to highlight the atypicality of Bourne’s vision. The Queen (Katrina Lyndon) and Willis also contribute memorable performances combining theatrics with dance excellence, all the whole bolstered by a superb ensemble.

23 years after its original staging at London’s Sadler’s Wells, Matthew Bourne’s Swan Lake is back with more electricity, punch and swagger than ever before. With a standing ovation, the audience agrees; this is a must-see.

Runs until 27th January 2019

Reviewed by Bhakti Gajjar

Photo credit: Johan Persson

Swan Lake - Review

Coliseum, London


*****


Music by Tchaikovsky
Directed by Konstantin Tachkin

The Corps de Ballet

It is all too rare that this blog visits the ballet for it is, quite simply, a treat to be able to sit in the Coliseum and savour the St Petersburg Ballet’s Swan Lake that is here in London for a fortnight.

The tale is a classic. Prince Siegfried falls for the beautiful Odette who has been placed under a spell by the evil Rothbart, condemning her and her peers to live as swans until the spell can be broken. The ballet is enchanting and under the vision of the company’s founding director Konstantin Tachkin, the interpretation is riveting.

As the Disney corporation discovered decades ago, you can’t beat a fairy tale for a ripping yarn.  These ancient fables are typically simple, easily defined, make our imaginations soar, and are built upon strong moral foundations. But long before Disney, the Russian Tchaikovsky recognised Swan Lake’s magic, going on to write a score that is chock full of  absolutely banging tunes. Aside from those richly symphonic familiar melodies that we all know and love, the work is littered with exquisite references that draw upon Latin and Baroque influences to name but two. And to have the opportunity of hearing the score played live by the magnificent  ENO Orchestra (under the baton, on press night, of Vadim Nikitin) only adds a further layer of delight to an already fabulous occasion.

Ballet of course demands that its narrative be played out through dance. Movement and nuance are everything - and Tachkin has coaxed virtually flawless work from his entire company. Prima Ballerina Irina Kolesnikova plays Odette (and also Odine, Rothbart’s daughter - google for a more detailed plot summary), bringing perfection in her poise and presence. Compelling us to empathise with her plight, Kolesnikova is a picture of enchanting athleticism, while her pirouetting (and at a ridiculous rpm!) is almost Regan-esque in its intensity. Denis Rodkin dances Siegfried - a man who looks as good as he dances and, to use the Cockney vernacular, is clearly as fit as a butcher’s dog. His powerful moves appear effortless - and as he picks up and spins Kolesnikova, we have a rare chance to witness poetry in motion.

It’s not just these two though. Dmitriy Akulinin brings a captivating menace to Rothbart and in the ensemble there is excellence too. Sergei Fedorkov’s Jester is a delight, pirouetting and cartwheeling across the stage with as much acrobatic talent as dancing skill in his delivery. Likewise, the Four Little Swans’ routine provides another delicious moment, while the entire Corps De Ballet are just immaculate - not only in their dance - but in how they hold themselves poised and still on both sides of the space, frozen in time for what must be agonising minutes, framing the action that's playing out centre stage 

The production’s sets are as enchanting as the tale with Act 2 in particular, set in Siegfried’s castle, bearing the Gothic illusional finesse of an MC Escher graphic. In short, a marvellous evening's dance and a production that should appeal to both connoisseurs and novices alike. Now that’s what I call ballet!

Runs until 2nd September

Matthew Bourne's Sleeping Beauty - Review

Sadler's Wells

*****

Directed and choreographed by Matthew Bourne

Ashley Shaw

Charles Perrault's classic fairy tale comes to the stage this season as Matthew Bourne completes his trilogy of Tchaikovsky's complete ballets. Sleeping Beauty (originally premiered in 2012) follows Swan Lake and The Nutcracker in typical Bourne style - it is clever, gripping and awe-inspiring.

Bourne pushes the boundaries of contemporary dance with striking choreography, so those looking for a typically Disney-esque treatment complete with dancers en pointe, will need to look elsewhere. But to anyone who is keen to experience the best of a small, innovative and enthralling company, this Sleeping Beauty is a delight.

The story is divided into four acts, each spanning a different period in time and - augmented by Lez Brotherston's fantastic costuming and set design - takes the audience on a journey through dance history. Beginning in 1890, with a nod to classical ballet, the tale progresses through 1911 to today, with movement on the more modern side of contemporary.

It is Bourne's desire to incorporate the 100 year sleep of Princess Aurora into the production that plays a pivotal role in this version of Sleeping Beauty, laying the gothic foundations of this self-described 'gothic romance.' The fairies are vampires, allowing the story to jump into the future without losing its characters to the mortal rite of death. And while there are dark undertones, an original use of puppetry also maintains the element of comedy.

Highlights include the dance of the fairies, which sees six striking solos merging neatly into one stellar piece; a scene set in the 'land of sleepwalkers' with fluid movements and the majority of the company on stage; and the wedding scene which, with its harsh undertones and choreography reminiscent of Christopher Bruce's Rooster, is truly captivating.

While these scenes may not sound familiar, it is worth noting that for all of the liberties Bourne has taken in telling this classic story, it firmly remains faithful to a “once upon a time” beginning and a delightfully happy ending.

Performances by Dominic North, as Leo the Royal Gamekeeper and Adam Maskell, as Carabosse the dark fairy and her son Caradoc are noteworthy. Both embody the spirit of their characters seemingly with ease - as the sweet and ever faithful Leo and sinister villains respectively. And Ashley Shaw's Princess Aurora is spell-binding, capturing the essence of the mischievous yet lovable royal daughter perfectly.

An outstanding production, in terms of originality, creativity and majesty, Sleeping Beauty is an unmissable masterpiece.

Runs until 26th January 2016

Guest reviewer: Bhakti Gajjar

Nutcracker – The Motion Picture (1986) – Review

****

Directed by Carroll Ballard

It is Christmas Eve and festivities are underway. Clara (Vanessa Sharp) eagerly awaits the arrival of her godfather (Hugh Bigney) who always brings with him the most exciting gifts and toys. She is captivated by a beautiful castle, complete with dancing dolls inside. But what most intrigues her is a wooden nutcracker prince, which she returns to inspect after the party has ended and which sends her into a dream world. 

This 1986 production by the Pacific Northwest Ballet and staged amidst a wonderful Maurice Sendak designed set, comes to DVD for the first time this Christmas, making Tchaikovsky’s classic accessible to fans across the world. 

Narration by the older Clara, who is recounting the dream that she had, provides an insightful analysis into the rationale behind the dream and its characters – a clever technique used by Ballard. 

The dream sequence moves at pace and builds with a dizzying flurry of performances, each with their own distinct identity. The costuming deserves special mention in supporting this, with a broad range of colours and textures used to complement the narrative. The set design is also wonderful; a particular highlight is when the waves of the sea are brought to life with moving set pieces and a boat, carrying Clara and the Nutcracker, crosses the water. 

What makes the Nutcracker particularly memorable is that the dark undertones of the story – such as the nature of the relationship between Clara and her godfather, Clara and her brother, and Clara’s parents – are explored in this production. They are also nicely introduced at the very beginning of the film, when a sense of foreboding is made clear to the audience from the outset. 

Dance highlights include the Peacock’s Dance (Maia Rosal), the Waltz of the Flowers (including a stellar performance by Lucinda Hughey) and the Dance of the Snowflakes, complete with snow. Performances by Patricia Barker – playing the dream Clara and the ballerina doll – and the Nutcracker Prince (Wade Walthall) are also excellent. The production certainly utilises some of the best film techniques that were available at the time, but given technology’s advance, today’s wired young viewers may possibly expect a little more. 

This Nutcracker certainly offers an opportunity to view the skill and discipline required by each dancer. And whilst the awe-inspiring effect of seeing such a production live on stage is arguably lost in a recording, who knows… it may inspire a visit to the ballet 

Nutcracker: The Motion Picture is now available on DVD

Swan Lake

Swan Theatre, High Wycombe

*****

Composed by Pyotr Ilyich Tchaikovsky
Choreographed by Matthew Bourne

The corps de ballet in Swan Lake 

Matthew Bourne has just announced that his emotionally charged, audacious Swan Lake has become the longest running ballet, both in the West End and on Broadway. His reinvention of the Bolshoi’s 19th Century iconic beautiful swans famously replaces traditional ‘beautiful’ female corps de ballet with strong, edgy and irascible male creatures. He says ‘…The strength, beauty and enormous wingspan of these creatures suggests to the musculature of a male dancer more readily than a ballerina in her white tutu…’ and indeed his choreography, the swans bouncing with long ‘necks’, perfectly portrays the graceful birds.

Chris Trenfield as the spell-binding Swan / psychopathic alter ego leather clad Stranger and Simon Williams as a Prince whose journey of self-discovery is both painful and joyous both dance and acte with such emotion and power that the standing ovation for the company started immediately they re-appeared after the final chords had sounded: the Prince dead on his huge bed, his mother too late feeling something for her son whilst above we see the Dead Swan, killed by his swans, carrying his dead Prince to eternity. Dramatic stuff indeed and incredibly emotional.

The 14 corps de ballet male Swans themselves are indispensable and remarkable. Strong, fluid, humorous yet menacing and ultimately cruel and lethal. The 4 baby cygnets take their moment also, witty, nervous, clumsy and fun!

Along the way, Bourne’s stylish company bring character, comedy, precision, mime and wit as palace servants, royal officials, asylum nurses and society’s finest; parodying romantic ballet with ornate costumes as butterflies, flowers, woodcutters and insects. Madelaine Brennan is elegance personified as the ice-cold Queen. Carrie Johnson exacted every ounce of comedy as a delightful out-of-her-depth flighty, dim girlfriend/wannabe wag.

The award winning set and design by Lez Brotherston is huge and grandiose, enhanced by stunning costumes (so much attention to detail in gloves, accessories, glitz and makeup) and Rick Fisher’s lighting.

Swan Lake is the world’s most frequently performed ballet but who would have imagined this production’s tremendous achievement when first performed in London 19 years ago? Judging by the first night full house standing ovation at the Wycombe Swan, it looks set to run for decades more!

Runs until 17th May 2014, then tours.

Live By The Lake - Kenwood House to host the return of exquisite summer entertainment

Kenwood House

Live By The Lake describes the concert season that return to Kenwood House next month and it’s a phrase that could quite possibly sum up my own summer relationship with this beautiful treasured corner of Hampstead Heath, a location that has entertained me, my family and my friends for more than 40 years.

I can recall the old GLC hosting concerts over an 8 week season. Each Saturday night featuring an eminent orchestra playing a worthy classical programme. There would be a mid-season treat of Tchaikovsky’s 1812, complete with cannon blasts and an end of season spectacular, typically Handel’s Music For The Royal Fireworks performed with due firework wizardry. With the GLC long since disbanded, English Heritage picked up the baton (sublime pun) and the survival of this landmark of London’s summer culture seemed assured. If the programmes were not dumbed-down, there certainly evolved a more populist feel, with themed nights being introduced and fireworks each week.  Perhaps understandably, some of the Hampstead and Highgate locals started to express their displeasure at a weekly fireworks display shattering their summer Saturday nights and thus it was a few years ago that whilst the House and its sumptuous grounds remained open, come Saturday nights in July and August, Kenwood fell dark with gates firmly padlocked.

Until now that is. Producers Rouge Events in conjunction with English Heritage, have cleverly arranged a 6 night season taking place over two long weekends at the end of August. Their season’s remit is broad. Opera, Choral Greats, a Gershwin celebration, an inspired screening of Singin In The Rain with live orchestra and two evenings of alternative rock from Suede and Keane to complete the line up. The Royal Philharmonic Concert Orchestra perform for three of the concerts including the Gershwin evening, which hosted by Michael Ball, will see established stars of the West End musical stage, including Kerry Ellis and Gina Beck, sing some of those talented New York brothers' fabulous compositions.

Michael Ball hosts the Gershwin night

Long before New Years Eve fireworks were broadcast live from the London Eye, the pyrotechnic designs at Kenwood House were arguably the most beautiful to be found in town. By late August, come 9.30pm, the night on the Heath has become deliciously dark and as the first smoking flares transform the woods through various hues, the gasps of astonishment from the crowd are only surpassed by the traditional oohs and aahs as rockets and starbursts explode high (but not too high) over the treeline. The fireworks over the lake provide beautiful illuminations that leave a pall of wonderfully smelling smoke hanging heavily over the dark mysterious woods, an impression left upon me in childhood and which I have been thrilled over the years to be able to share with our children. This year’s evening of Choral Greats promises “spectacular fireworks” so bring your kids and friends and not only will you be sharing with them an evening of cultured firework magic, you will also be bringing (and possibly introducing) them to some of the most spine-tingling arias of Verdi and Puccini.      

The 2013 Kenwood season promises the traditional charm and magic of the concerts that have long featured in the grounds of this exquisite house, but brought up to date to reflect the appetite of a modern audience. Nathan Homan of Rouge Events has said “the calibre of artists who are appearing at Live By The Lake is a testament to their own enjoyment of playing outdoor concerts and I think audiences across the six nights will love every minute of it.”  From the programme he has arranged, Homan is not wrong and if this glorious sunshine continues, there will be no finer place to be in the capital than at an evening, Live By The Lake in Hampstead.

The full programe of the season is listed below.

For more details and to book tickets , visit the Live By The Lake website

For more details of visiting Kenwood House , click here

@LiveByTheLake

@EHKenwood

PROGRAMME at a glance:

August 23rd: SUEDE and special guests BRITISH SEA POWER

August 24th: CHORAL GREATS with the ROYAL CHORAL SOCIETY and the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by RODERICK DUNK

August 25th: KEANE and special guest LAURA MVULA

August 30th: ‘SINGIN’ IN THE RAIN’ – film screening, score performed by the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by NEIL THOMSON

August 31st: OPERA AL FRESCO with ANA MARIA MARTINEZ and the ENGLISH NATIONAL OPERA ORCHESTRA conducted by PAUL DANIEL

September 1st: MICHAEL BALL and friends sing songs by GEORGE & IRA GERSHWIN with the ROYAL PHILHARMONIC CONCERT ORCHESTRA conducted by JAE ALEXANDER