ENB: The Nutcracker, London, December 2017

[zxDaveM]

I was at the dress rehearsal for ENB's Nutcracker (Wayne Eagling's production) earlier this week, at the Coliseum in London (Dec 2017).

Here are some photos:

Rina Kanehara
©  Dave Morgan. Courtesy of DanceTabs / Flickr

Arabian Dance
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

Joseph Caley, Shiori Kase
© Dave Morgan. Courtesy of DanceTabs / Flickr

 

See more... 

Set from DanceTabs: English National Ballet - Nutcracker
Courtesy of DanceTabs / Flickr

 

[Irmgard]

I have seen better overall performances of this production than the show I saw on the evening of 21 December but there were many individual performances which reminded me why I am always happy to see Eagling’s ’Nutcracker’, now in its eighth season.  On the downside, I noticed a lack of style and quality in the ensemble dances, particularly the exiting step for the Snowflakes.  Originally, the ports de bras and upper body movements lusciously filled out the enchanting music but now, with a few exceptions, the step seems perfunctory.  Similarly, the Waltz of the Flowers had a spectacular moment when the girls launch themselves at their partners, turn in mid-air and are caught by their partners with the front foot in retiré which was breath-taking in its precision during the first few seasons.  Now the front foot seems to drift into retiré after the girls have been caught. Likewise, Eagling choreographed a step in which the girls are slid along the floor by their cavaliers on the pointe of the front foot and then brought upright into arabesque.  The ‘slide’ has now all but disappeared.  The party scene in Act I was always a rather amiable, elegant affair but, in the last few years, has been beset by tiffs and tantrums of the pantomimic variety – and that is just the adults!   Thank goodness for the gracious and graceful Mother of Stina Quagebeur who led the dance for the ladies with impeccable style, particularly in her use of the upper body and ports de bras.  Making a welcome guest appearance as her husband was Grant Rae, who retired from the company in the summer.  Together, they displayed the finesse that used to be de rigueur in this scene.  I have seen better young Claras and Freddies than the two at this performance but it is always a delight to watch Alison McWhinney as Louise, especially in the charming pas de deux in the party scene where she was partnered by the uncredited Laurent Liotardo.  On the upside, what I will remember from this performance was the radiance and exhilaration of some of the individual performances.  Particularly radiant was Anjuli Hudson as a Lead Snowflake and Lead Flower along with Jung Ah Choi and Jia Zhang (whose mesmerising femme fatale in ‘jeune homme’ I am looking forward to seeing again in January) and a couple of other ‘flower girls’ who I could not quite identify from my seat.  Pedro Lapetra danced up such a storm in the Russian Dance and its reprise in the finale that he would not look out of place in the famous Moiseyev Dance Company.  Adela Ramirez was both radiant and exhilarating, bringing her wonderful flair to the Spanish Dance, and showing how the final jump into retiré I previously mentioned should be done.  She was caught so perfectly by Daniel McCormick that a man a couple of rows in front of me let out a whoop of surprised delight.  All the major roles were taken by seasoned artists in the production and their experience showed in some hugely satisfying performances, starting with James Streeter’s mischievous Mouse King, obviously enjoying being in command of his entertaining troop of mice.  Drosselmeyer was Fabian Reimair, who has performed the role since the first season, as well as numerous Nutcrackers (including an eye-watering number of them a few years ago due to injuries amongst his colleagues) and sensual harem-masters in the Arabian Dance.  He presided over Act I with a warm benevolence and carried off all the magic tricks with aplomb.  In Act II, he partnered Alison McWhinney’s prettily fluttering Louise in the Mirlitons pas de deux with a charming tenderness and a reassuring security which was also evident in the pas de trois with Clara and the Nutcracker at the beginning of the Act.  Guilherme Menezes was new to me as the Nutcracker.  I have admired the elegance of his dancing since he was a student and, despite wearing a mask throughout, he brought a wonderful tenderness and pathos (when indicating his injury sustained in the battle) to the Act I pas de deux with Clara, in which he partnered her superbly, as he also did in the Act II pas de trois.  He was well matched with the always aristocratic James Forbat as the Nephew so that it was not impossible to believe they were one and the same character.  Forbat and his Clara, Fernanda Oliveira, performed such a ravishing entrée to the grand pas de deux, including a flawless ‘bum’ lift, that the audience burst into spontaneous applause long before the final pose.  Oliveira enchanted from her first appearance in Act I when there was a look of wonderment on her face as she realises she has magically become a young lady and yet there was still enough of the child in her to make her fright at her first encounter with the Mouse King and his troops believable.  She has the prettiest développé in the company and it is an absolute joy to watch her leg unfold either to the front or side, perfectly reflecting the quality of the music.  To watch her joyful abandon in the Act II pas de trois, safe in the hands of her very secure partners, is to experience the exhilarating freedom that classical ballet can have, and her solo in the grand pas de deux was the delicate, delicious confection needed to send us home with ‘visions of sugar plums dancing in our heads’ to borrow from the famous Christmas poem.  

[northstar]

Thanks Irmgard for this review and detailed observations, particularly interesting comments on technique. I have not seen Oliveiria in a leading role so very interesting to hear your praise of her too. I've seen this production a number of times and I'm afraid I don't really admire it's peculiarities, but am always interested to hear others' views on the forum, yours is the only one so far this season! And as you mention the individual performances can make it a worthwhile trip. Glad to hear the grand PDD delivered the magic for you.  

[LinMM]

I haven't commented on this which I went to on the 20th as I really dislike this production ( sorry Wayne Eagling much as I loved your dancing!) 

I hadn't seen it for a few years for that reason however I went with a friend who is not a regular ballet goer at all but took me along as she saw the Nutcracker many years ago now so just suddenly fancied seeing it again. She doesn't live in London so it was a day she could do and if I'd known a bit sooner would have preferred to direct her to the BRB production at the Albert Hall ( though ridiculously only running for about three days!!) as I thought this would be a bit more special if you don't go that often etc etc. However too late! 

And Unfortunately for her she was disappointed ....not with the overall dancing but with the whole production .....she didn't feel she was transported to the Kingdom of Sweets in the second Act!!  And this is what had stayed in her memory from her previous visit long ago.

But I agree! After all the to do with the air balloon and the journey etc they seem to land in exactly the same place they took off from!! And the dreaded rat...still there ....we both wanted to kill it in the end ....however well danced!! 

Both of us got fed up with the mask fiasco .....I knew this was going to annoy me again but didn't say anything at all to her beforehand as was also interested in how she would see it all.

I think she was most disappointed with the dances .....not the dancing....the choreography ....and the general sets ( even duller than I remembered) and she hated the Arabian dance for its overall ambiance and the solo dance with the famous music ( not even acknowledged in the cast sheet so no idea who danced it) 

The redeeming feature was the final grand pas de deux ( danced wonderfully in particular by  Shiori Kase ....and Ken Saruhashi) 

So I was disappointed that she was disappointed as a non frequent ballet goer ....but intend to remedy this by taking her to see something I think she will be impressed by and by this Company hopefully!! 

I just also wanted to mention the dancing of Tiffany Hedman and Jia Zhang as the lead flowers ....both lovely.

 

so sorry this is not a more favourable review and as I say didn't feel I wanted to post initially because of this ( also why I didn't review Sylvia as it just didn't grab me like Ashton usually does) but there does seem to have been little comment on this Nutcracker .....though I think Christmas just gets in the way of people having the time really.

It seems a bit sad that afterwards over coffee we were hoping the ENB would soon have a new Nutcracker but I wasn't that hopeful as this production is not that old and new productions are just so expensive ....and thinking of the coming move to the new premises etc etc think it's most unlikely but I won't be seeing it again!!

 

 

 

 

[aileen]

I'm afraid that I have to agree with Lin about being disappointed by a performance of this production last week. There just wasn't a lot of magic and even the GPDD, the snowflakes and the waltz of the flowers couldn't redeem it for me. I've hesitated to post about the performance because I am aware of how hard all the dancers work getting through the annual Nutcracker marathon (11 shows last week alone!). It was interesting to read Irmgard's comments about a certain lack of style in the snowflakes and waltz of the flowers. Perhaps that accounts for my feelings about these ensemble numbers. However, the 'national dances' felt very flat and the stage looked as empty as before. I'm sure that a lot was spent on this production but the staging looks a bit cheap overall with the (rather jerky) transformation scene having the feel of an am-dram production about it. It's time for this production to be replaced but, as Lin says, you wonder whether this is a priority with the company's impending move to the new building.

[Lizbie1]

I too haven't posted about it before because I wasn't crazy about it. One moment summed the whole show up for me: at the very moment of the Waltz of the Flowers' musical climax, the stage empties - a very strange choreographic decision!

[bridiem]

All reviews are interesting, whether favourable or not - if only positive reviews are posted it may be giving an inaccurate impression of what forum members are actually thinking. So thank you for the last few reviews! (As well as Irmgard's very interesting post.)

[CCL]

Hello - I'm not sure if I have posted before, although I've been lurking for around a year! I went yesterday afternoon (December 28th) and I must say I enjoyed it very much, as I always do. I have been taking my daughters to ENB's Nutcracker every year for the past seven years, and it is part of our festive traditions. I can understand why it might not be to everyone's tastes, the nephew/Nutcracker part of the story is a little complicated,  but overall I think there's much to admire in this production  and there are so many moments I look forward to seeing. Yesterday I was thrilled to see Rina Kanehara as Clara, I thought she was utterly exquisite, so light and ethereal, and with such vivid facial expressions. She was partnered beautifully by Aaron Robison, he too was a joy to watch, such a strong and powerful technique and what came across really clearly to me was their enjoyment in their dancing. I was also very impressed with Sophia Mucha as Young Clara - wonderful dancing and acting. Altogether my daughters and I had a wonderful afternoon.

[aileen]

I saw Rina Kanehara last year and also thought that she was exquisite in the role. I actually think that she might be the best Clara / SPF that I have seen in this production, better even than Shiori Kase who is also exceptionally good in this. The tricky partnering (I think that it was Yonah Acosta and Guiherme Menezes plus Fabian Reimar as Drosselmayer) went particularly smoothly, which is not always the case   with this rather fussy choreography.

[Jan McNulty]

Hello CCL and welcome out of the lurking shadows!  We’d love to hear more from you...

[Sharon]

1 hour ago, aileen said:

I saw Rina Kanehara last year and also thought that she was exquisite in the role. I actually think that she might be the best Clara / SPF that I have seen in this production, better even than Shiori Kase who is also exceptionally good in this. The tricky partnering (I think that it was Yonah Acosta and Guiherme Menezes plus Fabian Reimar as Drosselmayer) went particularly smoothly, which is not always the case   with this rather fussy choreography.

Yes me too, Rina Kanehara's dancing was the best thing about the whole show last year. Much more believable and refreshing than Rojo who I  thought was miss cast. I loved Alina Cojocaru also, but it's almost impossible for her to perform badly. I remember glancing at my watch - always a bad sign.

[northstar]

Great to see a bit more discussion on this Nutcracker, the different views from old and new forum members, exploring the positive and negative impressions. I've seen this Nutcracker more than any other -  through circumstance rather than preference - and I'm afraid I tend to agree with the more negative views above. The mention of dull/empty staging particularly strikes chords with me, and i haven't heard these voiced before so thank you. Interesting to hear the Arabian dance denigrated again LinMM, that divertissment in this production has had quite a bit of stick on this forum, and elsewhere, I believe.

 

I would agree CCL that there are good points and there are always great individual performances by the ENB dancers, and would be happy to recommend it to anyone who hasn't seen it, and I would probably go and see it again at some point. It's just that compared to the masterly, magical Birmingham Royal Ballet version it does suffer by comparison. I would also praise the ENB orchestra whose brilliance in playing that magnificent score I've loved on every occasion. 

 

Not sure I've got my facts right but the previous Nutcracker from ENB was choreographed by Christopher Hampson with set designs by Gerald Scarfe and ran from 2002-2009. I also wonder like the posts above if a new version is on the horizon. 

[aileen]

I saw the Hampson production a couple of times. I don't remember it in detail but I do remember dancers (icicles?) jumping out of a fridge, Clara flying off in a paper bird and a lovely set for the second act with ice cream / sundae mountains. It was less traditional and probably a bit too cartoonish for some tastes but the staging was quirky and fun. 

[Guest]

The company's 70th anniversary could be a good opportunity for change and a new Nutcracker would be most welcome! Like some of the posters above I find the second act particularly empty (and dark), lacking magic and imagination, redeemed, of course, by excellent dancers. Even though the difference between fantasy and reality was rather blurred in the Hampson version (because some of the party guests were already fantastical creatures and therefore Clara's subsequent dream and journey seemed less effective), that production was certainly more entertaining and memorable than the current one. (Like LinMM before me, apologies to Wayne Eagling whose dancing I also admired).

[LinMM]

When is the 70th anniversary ....I had a feeling the original Festival Ballet was formed in either 1950 or 1951??

[CCL]

Thank you Janet, and everyone else who responded to my post. Now that I have taken the plunge, I aim to comment more often!

 

Still on the topic of ENB, is anyone planning to see either of the double bills at the Coli?

[Irmgard]

I am so pleased to see some more posts here about ENB's 'Nutcracker' - mine was beginning to feel decidedly lonely!  And if my post encourages people to see some of the dancers who do not receive as much official publicity as others, so much the better.  With regard to the designs, provided this does not breach Forum protocol, I can report that, prior to the Board approving Eagling's production, he showed me a portfolio full of wonderful designs and ideas (that would have been truly magical) which he was about to show the Board but apparently the budget would not cover them (if anyone remembers the TV documentary made at the time, the dancers' salaries were also hit by the budget cuts) and what we see now is the result.  I know Eagling has never been completely happy with it (he mentioned the transformation of the Christmas tree to me on several occasions).  It probably is time for a new production but, as there is still much to admire in this one and budget may still be an issue, perhaps a revamp in the decor and changes to the staging which Eagling has made in subsequent productions for other companies may be the cheaper option.  However, for the moment, I am looking forward to my post-Christmas trip to see what other casts can bring to the present production.

[LinMM]

That's lovely to hear about Eagling and really sorry he didn't get his full wish with everything then ....as I really loved him as a dancer ( still have a signed photo of him when he a young dancer at the Royal from ions ago...thanks to MAB I might add....and I went to the Premier of this production ....so was really routing for it...but unfortunately there were a few malfunctions that night....But I had reservations anyway right from the word go!! 

If he had intended it to be a little more magical ..that's great ....maybe some of these could be looked at again? Perhaps a little less dreary in the second Act? And maybe at least one number which acknowledges this is supposed to be the Kingdom of Sweets?

 

Im sure Mr Eagling was trying to make it more of an adult affair....as did Nureyev before him...but to be honest the second act is just a series of divertissements building up to SUGAR plum with some engaging music so not sure if we need anything too dark here( in all senses of the word!) 

Im not actually sure if it is the actual choreography in itself which grates so much as the possible use of the imagination for the  music for these divertissements ...it's all a bit generally sparse. 

And PLEASE can we leave Mr King Rat behind in Act one ....perhaps he could lose his grip on the balloon basket and fall to the earth ...ranting and railing and imploring at his loss .... ( could be a nice bit of drama here) .....as they go off to better things and a brighter kingdom!! 

 

 

[Sharon]

ENB were experiencing lots of financial problems during the making of Nutcracker as the TV series showed. Surely with all the recent successes and the fact that the board agreed to increase the AD's wage there is some money in the pot to spruce up the Nutcracker as suggested by Irmgard.

[aileen]

I'm afraid that the flaws in Eagling's production are more than aesthetic. The Nutcracker / Nephew swapping about is confusing for most people apart from those 'in the know' and the second act staging in the puppet theatre seems to have no connection to the first act plus the dancers seem to be performing to nobody as Clara and the Nephew are off-stage for most of the second act. 

[pianolady]

I agree with aileen. The Nephew felt to me like an awkward plot device superimposed on the narrative. I've seen this production twice and didn't like it any more the second time- I agree that the puppet theatre idea in the second act doesn't connect or seem to say much, and it makes for a strangely empty stage and rather dry experience. Also don't like the rats continual presence. I'm also not keen on the balloon and would love to see it go. It's a shame we haven't seen the full potential of this production but I agree with others that it's time for a change.

[Irmgard]

On Thursday (4January), I watched both shows and was struck by how spirited they were, even though they were the 30^th and 31^st shows at the Coliseum and most of the dancers and musicians have been in every performance.  The three principal roles at the matinée were taken by the same dancers I saw on 21 December (Fernanda Oliveira, James Forbat and Guilherme Menezes) who somehow managed to improve on that glorious performance. In Oliveira’s and Forbat’s grand pas de deux in Act II, the spectacular ‘bum’ lift was even more breath-taking in the speed  with which Oliveira was lifted on high by Forbat and then carried across the stage so securely , reinforcing what a superb partner he is.  Once again, the audience broke into prolonged applause and cheering well before the final pose.  New to me was the Drosselmeyer of Junor Souza, who made his debut in the role this season.  He and Menezes (as the Nutcracker) made Oliveira look light as a feather as they tossed and swung her around with astonishing ease in Eagling’s challenging choreography at the start of Act II and I could not help smiling at the sheer exuberance of this trio.  Souza also partnered with great tenderness the enchanting Adela Ramirez as Louise in ‘Mirlitons’.  Her exquisite footwork had already impressed me in her pas de deux with the uncredited William Simmons during the Act I party scene.  I hope all the children from Tring onstage were making mental notes of what a beautifully stretched foot looks like as, in all three performances I saw, I was disappointed by the poor use of the foot by all the children.  Eagling’s choreography for them is not complicated but does place emphasis on clean, neat footwork and I felt this was lacking this season.  Highlights of the Act II divertissements for me were an especially sensuous Arabian Dance courtesy of Shevelle Dynott, Isabelle Brouwers, Sarah Kundi, Emily Suzuki and Stina Quagebeur, and Jung Ah Choi bringing a spikiness and cheekiness to Eagling’s martial arts-inspired Chinese Dance, ending in a brilliant set of fouetté turns.  As in other ballets I have seen during the past year, I was impressed by the stylish dancing and sunny presence of Connie Vowles, this time as both Lead Snowflake and Lead Flower.

 

In the evening performance, Adela Ramirez once again enchanted with her glorious dancing and radiant stage presence as a Lead Flower.  Louise was danced by Anjuli Hudson who was delightfully charming in the Act I pas de deux although I could not identify her excellent partner.  It has always puzzled me why the cast sheet for this production never credits Louise’s three suitors in Act I even though they have quite a lot of dancing to do, especially the kilted one, but lists the four girls who are really no more than a ‘backing group’ in the Russian Dance (another thrilling performance from Pedro Lapetra and likewise from Daniel McCormick in the matinée).  Hudson also charmed in ‘Mirlitons’ with her delicacy and grace, partnered by Fabian Reimair who gave another masterly performance as Drosselmeyer. This was my first chance to see new corps de ballet recruit Fernando Carratala Coloma as the Nutcracker and, from his first jeté onto the stage, I was struck by the refinement and power of his dancing.  He was an excellent match, both physically and artistically, for Aaron Robison’s Nephew, and his Act I pas de deux with Jurgita Dronina’s Clara was heart-melting in its joyfulness and beauty, greatly helped by Gavin Sutherland garnering an extremely passionate reading from the orchestra (which he did throughout the performance).  As with the afternoon cast, Coloma, Dronina and Reimair made the pas de trois at the start of Act II look effortless and brimming with youthful joy.  The grand pas de deux really was a grand affair with Dronina looking every inch an imperial princess and Robison beautifully presenting his ballerina who tossed off an impeccable series of single and double fouetté turns during the coda.  Dronina, as with some of her other ENB colleagues, has the ability to just ‘be’ Clara rather than having to act like a young girl and therefore her reactions during the battle with the mice were totally natural and believable.  Touches which I found particularly endearing were the thrill that seemed to go through her whole body when she sees the Nutrcracker without his mask for the first time and realises he is her adored Nephew (or rather Drosselmeyer’s Nephew!) and, when the snow begins to fall, her face lights up with childlike glee and she tries to catch some of the flakes.  But the crowning glory of her performance was the Sugar Plum solo, danced to the shimmering celeste accompaniment played by Julia Richter.   Her delicate footwork, particularly in the opening series of steps en pointe, and her lovely use of the upper body and ports de bras brought out the prettiness of what is extremely challenging choreography, making it a magical experience.  So, although I agree with some of the other posts on this thread about problems with the production, I feel privileged to have seen two such glorious performances, particularly of the grand pas de deux, on the same day.  Judging by the thunderous ovation at the end of both performances, the rest of the audience felt the same way.

[capybara]

A huge "well done" to the ENB dancers, especially those who were in virtually every show, for another successful season of Nutcracker.

 

I do wish that changes were announced if it is too late to alter the cast sheets. Saturday afternoon's performance - nicely led by Francesca Velicu (in a debut), Ken Saruhashi, and Fernanda Carratala Coloma - differed in 5 or 6 respects  from the listings. This becomes all the more significant because the ENB audience is invited to vote for their favourite dancer and could well be misled as to who they had seen.

[Sim]

That's a very good point, Capybara.  There is no reason why there can't be an announcement via the tannoy if it's too late to print change sheets.  This would be fair to both the replacement dancers and and the audience.