I could review the Birmingham Royal Ballet’s production of The Nutcracker in a single word – magical! However, for those who want to know why I was so enchanted I will elaborate.

At this time of year The Nutcracker is always going to be a sure fire winner, being a culmination of a timeless festive fairy tale brought alive by some of the most sumptuously accessible and familiar tunes in the repertoire. Over the years it has become a family favourite, and for some an annual Christmas treat. Many companies perform it, notably touring Russian companies, and they often do a wonderful job, particularly in the storytelling and dance. But there are several things that firmly assign the BRB production into a different league.

I begin with the beautifully balanced Royal Ballet Sinfonia conducted by Matthew Rowe. There is a world of difference between hearing the music breathe in the theatre and the still life of a pre-recorded production. The fine musicians of the Sinfonia brought a magnificently responsive energy to the dynamics of the occasion that the dancers engaged with completely. Simply put, the aural stimulus made it feel alive, vibrant and in the moment.

Then there was the wow factor. Or rather, factors. The costumes were stunning. How the dancers managed to move at all in them was intriguing, but they did. From Frau Stahlbaum’s fully corseted gown to the rodent headed costumes of the warrior rats and the coiled spring trousers of the Jack-in-the-box, the wardrobe department outdid themselves. The scenery movement was sensational. The miniaturisation of Clara’s ‘real’ world to leave her equal in size to the rats, soldiers and dolls of her Toyland fantasy was breathtaking.

Not to be outdone, the props department made most of the opportunities presented them, with many clever effects and more than one trompe d’oeil to leave the audience wondering how they made the magic happen. As for the lighting, this was brilliantly done throughout the performance, perfectly supportive of the theatrics, never intrusive. The final scene of Act One was, for me, a masterclass of light and scenery and effects.

Of course, the dancing cannot go without mention. The BRB put a full compliment of its top-flight talent onto the stage. Indeed, at times more dancers than one could feasibly count. In leading roles we saw superb performances from Momoko Hirata, César Morales, Delia Matthews, Céline Gittens and, as Clara, Karla Doorbar. A particularly charming and impressive contribution, and one that endorsed the sense of this being a family centred production, was made by the children of Elmhurst Young Dancers and Junior Associates of the Royal Ballet School.

This was an expensive production, fully justifying the ticket price, wonderfully directed and danced. When everything comes together in this way, I can only refer you back to my one-word review – magical!

★★★★★    Robert Gainer   24^th November 2018