Nutcracker
Let’s All Dance return to the stage this festive season, with a righteous re-telling of the traditional tale: The Nutcracker. Reviewed at the Royal Academy of Dance, the venue really set the scene in advance of entering the auditorium with a glorious Christmas tree in the main foyer, and other festive decorations throughout the building. These provide plenty of perfect picture opportunities to commemorate the visit and celebrate in such a special space. Considering its renown for contributions to the ballet industry across the globe, you really did feel a sense of magic and poise in the air - ideal for an introduction to the Tchaikovsky classic. Artistic Director, Orit Sutton’s commitment to creating exciting and innovative work is combined beautifully with technique and tempo making for a short and snappy version of the beloved story.
This is one in which many audience members may never have witnessed this style of movement before, and there were plenty of little voices to be heard declaring that they now wish to be a ballerina when they grow up as we headed home. A primary reason for this was the exquisite performance given by principal Holly Moon-Griffith as Clara - as what young person with an interest in tutus and tiaras would not be enthralled by a real life princess.
Having the most stage time of all, Clara’s solos were naturally beautiful, with a costume just as dazzling to match. This is thanks to designer Fran Mangiacasale and maker Jane Webster. The pas de deux between herself and Jason Yang-Westland were the highlight of the piece, and showed grace and professionalism in each scene where they appeared. These two seemed the most competent and confident artists of the group and it is clear why they have been cast respectively.
Despite a few mishaps with belts and buttons, the other visual aspects were nearly as impressive. This includes a simple yet effective lighting design from Samm Chang who doubled as the stage manager - ensuring that all was in the correct place at the right time in such a fast paced piece. Unfortunately their secondary technical department of sound was not quite as flawless, with actors arriving in silence and having to hold their starting position for longer than was comfortable waiting for the next track to begin. This was also sometimes too loud for the size of the studio and, at one point, completely drowned out by the sound of the very noisy snow machines.
Also off balance was Bruno Aversa playing Cossack and The Soldier. He seemed the only dancer unable to mask the energy and effort the choreography stipulates, and it was a shame to see this mask slip in what is otherwise such a fantastical world. His relevé was noticeably lower than the accompanying performers’, and there were a few instances of a wobbly turn due to difficulty spotting. These are small errors and to be expected in a show as demanding as this one, however he was the only one in bright red boots which actively drew attention to these details.
Opposing Aversa were Syanne Day & James Aiden Kay both amazing dancers who had eyelines reaching as far as their extensions and their adagio as elegant as their allegro was snappy.
Aimed at children, but suitable for all ages, The Nutcracker is always a family favourite at this time of year however with so many versions available it can be difficult to decide which one is right for you. While not the most polished production, if Let’s All Dance are visiting a theatre near you then this may be a great time to introduce your kids to the world of ballet and Hoffmann’s Nutcracker story.
This show was reviewed on the 14th December 2024 at the Royal Academy of Dance. Full tour details can be found here: The Nutcracker - Lets All Dance
Review written by Katie Anna McConnell
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Photo credit: Katie Hutch
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