Review of the Scottish Ballet’s The Nutcracker
One of Tchaikovski’s’ most recognizable works consistently graces theater houses worldwide during the holiday season. Whether one’s exposure to such a symphony comes through the world of classical music, a love for dance, or simply watching the early 2000s Barbie Mattel films, it is likely that the familiar melody strikes a chord with even the least versed classical listener. The Nutcracker is a beautiful ballet standard that is reimagined through various iterations of costuming, choreography, and stage production choices, and the company at the Scottish Ballet exhibited such brilliance first hand.
As the lights of Glasgow’s Royal Theatre dimmed, the crowd was buzzing with uncontainable excitement, as old and young generations alike awaited this classic experience brought to life. From the opening number it was clear that this was unlike any of the previous productions of its nature; the children in the narrative taking center stage performing highly choreographed routines intertwined with that of the adult performers.
During a brief chat during intermission, CEO of the Scottish Ballet, Christopher Hampson, mentioned that his goal for this performance cycle was to have the child dancers much more involved in the larger choreography of the production. This success was evident in the influx of family members and friends flooding to the stage doors after the curtain, to meet and congratulate their dance prodigies on a stellar performance. The young girl who played Clara, Ava Morrison, danced beautifully, her character serving as a segue between each major development within the storyline.
The sets were almost something out of an animated film, overwhelming the senses with warm, vibrant colours and seamless transitions that allowed for full immersion in the narrative. As an audience member who was experiencing the ballet for the very first time, the allure of the grace, elegance and class of the venue alone is enough to leave someone hooked.
The pit orchestra’s melodies rang beautifully through their executions of the extremely technically challenging Pas de Deux. andante maestoso and the memorable Waltz of the Flowers. Bringing a lively, powerful, and moving element of rigor and colour to the production, the music served as a character entirely of its own, propelling the dialogue taking place between the physical people on stage.
The most breathtaking number of the show was undoubtedly exchanged between the Sugar Plum Fairy, Jessica Fyfe, and the Nutcracker Prince, Yuri Marques Da Silva, in the Grand Pas de Deux. It was almost enough to bring this simple reviewer to tears. Between the gorgeous costuming that seemed to spare no expense, to the subtle ebbs and flows of the musical cadences, to the delicate nature at which the pair moved in unison and highlighted each other’s strengths, the audience was bearing witness to a blatant display of discipline and artistry.
While placing a heavy emphasis on the way the ballet company had fine tuned their craft, the show still managed to maintain an air of lightness to it. The drummer boy’s performance, and the eccentric group numbers at the end recaptured the audience’s attention, instilling a new sense of engagement after the passionate dances and the famous Dance of the Sugarplum Fairies.
The lowest point in the evening was when the curtain dropped and it became highly evident why people frequent the ballet. Aside from the fact that every member of the cast danced beautifully, the production provided the perfect combination of fine performance art that left you wanting more. Whether it is this production or not, it would be a crime not to experience the excellence that is the Scottish Ballet at the Theatre Royal at some point during their touring season.
