The Royal Ballet The Nutcracker Review 5*
The Royal Ballet opens the festive season with its transporting, magical production of the Christmas ballet, The Nutcracker
This article was first published on London Unattached
Nothing says Christmas like The Nutcracker; and nothing says truly magical, transporting, transcendental Christmas like The Royal Ballet’s The Nutcracker
Sir Peter Wright’s incomparable production of the Christmas ballet, regularly spruced up since its premiere just over 40 years ago, has officially opened the festive season at a Royal Opera House bedecked in a plethora of seasonal decorations, including this year’s giant Christmas tree bearing the signature stripes of designer Paul Smith. There’s a little magic in the foyers and bars; but the real spirit of Christmas lives in the auditorium and settles in the moment the first gentle notes of Tchaikovsky’s sublime score rise up from the orchestra pit.
And when the Orchestra of the Royal Opera House, under the baton of the Royal Ballet Music Director Koen Kessels, is in such fine form, the magical tone of the evening is established from the very beginning.
The storytelling is immaculate and involving, with its combination of eye-filling, atmospheric sets, stagecraft (it’s always awesome to watch the Christmas tree slowly grow and grow as commanded by the magician Drosselmeyer), seamless scene changes, clearly articulated mime and, of course, plentiful, varied, exciting dancing, in the knowledge throughout that the very best, the part that will make your heart beat a little faster, is still to come.
More on the Sugar Plum Fairy pas de deux in a moment.
The curtain rises on a prologue set in Herr Drosselmeyer’s darkly lit, wood-panelled workshop. The magician, performed on opening night by principal character artist Thomas Whitehead (last seen as a comically endearing Widow Simone in La Fille Mal Gardée), is preparing his gifts for the Stahlbaum party. A very special gift is a nutcracker doll, in whose shape his much-loved nephew, Hans Peter, has been trapped by a malevolent spell.
Soon, though, we’re in the well-appointed Stahlbaum home, its Biedermeier period interior minutely recreated in Julia Trevelyan Oman’s designs. Last touches are being put to the sumptuous Christmas tree, children run around excitedly, grown-ups exchange greetings, and both groups engage in genteel dances. It’s a bustling, homely, relatable family scene.
Drosselmeyer’s arrival ups the excitement level.
He brings tricks and performing puppets: Harlequin and Columbine (Téo Dubreil and Mica Bradbury), Soldier and Vivandière (Taisuke Nakao and Chisato Katsura), both pairs jerkily doll-like, though Nakao and Katsura need to work a little on their synchronisation.
Most importantly, Drosselmeyer brings his nutcracker doll as a present for young Clara, danced on opening night by the utterly charming soloist Viola Pantuso.
Come midnight, magic happens. The nutcracker comes to life and leads the soldiers in battle against a host of mice led by the fearsome Mouse King (Francisco Serrano). Clara’s intervention kills the Mouse King and saves the nutcracker, now fully restored to his human form as Hans Peter and danced with customary elegance by first soloist Leo Dixon.
Riding an ornate sleigh, Clara and Hans Peter are led by Drosselmeyer to the Land of Sweets, passing through a gentle snowstorm, which shows the Royal Ballet corps in fine, well-drilled form.
Act II takes place in the sugar-spun set of the Land of Sweets, the realm of the Sugar Plum Fairy and her Prince, danced on opening night by principals Fumi Kaneko and William Bracewell, a pairing surely made in heaven.
This pas de deux marks the pinnacle of The Nutcracker, and when danced by Kaneko and Bracewell, it’s the stuff of dreams. Fumi Kaneko is a very special, exquisite dancer, her steps bearing crystalline definition, her steely technique masked by soft arms and upper body, all crowned with a radiant smile. Her arabesque line is perfect, she turns effortlessly, her light jumps soar, and her love of dancing colours every step.
William Bracewell has a princely bearing, his dancing has classical elegance and he is a wonderful partner. Their Sugar Plum Fairy pas de deux really sets the pulse racing.
Before we get there, though, Clara and Hans Peter join in on a series of divertissements known as the national dances: Spanish, for three vivacious couples, Chinese for an acrobatic pair (Caspar Lench and Taisuke Nakao), Arabian, a sultry exotic dance where Melissa Hamilton, partnered by Nicol Edmonds, dazzled, and the muscular high jumps of the Russian dance (Francisco Serrano and Harrison Lee).
The Waltz of the Flowers allows the ensemble to shine, and they do, but I was particularly impressed by Sae Maeda’s compelling Rose Fairy.
Of course, all good things come to an end; and this was all Clara’s dream anyway… or was it? Go, sit back, enjoy and find out.
Opening night was also Sir Peter Wright’s 99th birthday, and he was wheeled onto the stage by Royal Ballet Director Kevin O’Hare as the orchestra struck up Happy Birthday to sustained, appreciative applause from both dancers and a sold-out house.
© Teresa Guerreiro
(Banner image credit: Fumi Kaneko & William Bracewell in Suga Plum Fairy pas de deux, The Nutcracker © 2025 RBO Photo: Andrej Uspenski)
The Nutcracker is in repertoire at the RBO until 5 January 2026. Full info & tickets here
The Nutcracker is live in cinemas 10 December 2025. Encores from 14 December 2025. To find a participating cinema near you click here