Christmas at the London Coliseum means the return of English National Ballet’s Nutcracker, a festive favourite that is guaranteed to lift your spirits.
Nutcracker has been at the heart of English National Ballet’s repertoire since the Company was established in 1950. The current production, the Company’s tenth, dates from 2010. Made by then Artistic Director Wayne Eagling, with designs by Peter Farmer, this interpretation largely follows the traditional scenario but has a few unique flights of fancy mixed in too.
On Christmas Eve, young Clara and her brother Freddie enjoy a party with family and friends. Clara receives a Nutcracker doll as a present but, after a skirmish with jealous Freddie, the doll gets broken and has to be repaired by the mysterious Drosselmeyer. The party ends, the children are sent to bed and Clara has an action-packed dream in which her Nutcracker is attacked by an evil Mouse King. Departures from the traditional narrative in Eagling’s offering include the enchanting addition of a hot air balloon to whisk Clara and her Nutcracker away; horrifying giant mice invading scenes that are conventionally rodent-free; and a Puppet Theatre replacing the customary Kingdom of Sweets in Act Two.
English National Ballet’s talented dancers capture all the requisite wonder and magic of the Christmas staple. Having demonstrated in recent years that they are as adept in contemporary choreography from the likes of Akram Khan as they are in the classics, they assuredly keep this familiar ballet feeling fresh.
English National Ballet dances emotionally-charged choreography with seamless fluidity in Sir Kenneth MacMillan’s Manon, bringing dazzling decadence, drama and despair to the stage.
The late British choreographer’s intense romance is a classic narrative ballet that is rarely performed regionally. In fact, English National Ballet’s current revival and tour of this MacMillan masterpiece is quite an occasion as the company is presenting it outside London for only the second time in thirty years.
Despite being created in 1974, the three-act tragedy remains a paragon of adult, dramatic dance. Inspired by Abbé Prévost’s notorious 1731 French novel Manon Lescaut and danced to the music of Jules Massenet, MacMillan’s Manon is a balletic interpretation of one of the earliest imaginings of a femme fatale. It boasts meaty principal roles, bustling crowd scenes and enthralling pas de deux highlights; all of which push the boundaries of what ballet is, and should be, to unashamedly explore the darker side of the human condition.
If you love ballet, you won’t want to miss the opportunity to experience Manon – and if you don’t think ballet is for you, it’s even more important to give this powerful production a go.
We might still be in November but Christmas is well and truly on its way now English National Ballet is delighting audiences with its dreamy Nutcracker at Milton Keynes Theatre.
Nothing gets me in the festive spirit quite like hearing the opening notes of Tchaikovsky’s glorious score. There are many different versions of this seasonal ballet but the magical music is timeless and immediately evokes feelings of anticipation, enjoyment, excitement, adventure and beauty. Superbly played by English National Ballet Philharmonic, the familiar compositions envelop audience members in a blissful ballet bubble from the overture right through to the finale.
The company’s current Nutcracker, choreographed by Wayne Eagling, is wonderfully wintery and heart-warmingly whimsical. On a frosty Christmas Eve in Edwardian London a family hosts a celebratory get-together. Among the guests is Drosselmeyer, a magician and maker of toys, and his handsome nephew. Young Clara is besotted with the nephew and eagerly dances with him before receiving a painted wooden nutcracker soldier from the mysterious Drosselmeyer. Thrilled with the gift, Clara happily dances with her new doll until a scuffle with her brother Freddie results in the nutcracker being damaged. Fortunately, Drosselmeyer works his magic to fix the wounded toy before the children are sent off to bed. What happens next is a fanciful adventure. Clara encounters an evil Mouse King, battles with the Nutcracker against an army of mice and travels to the Land of Snow. Later, she is entertained by dancers from all over the world, presented with a pretty posy of waltzing flowers and comes of age dancing with her very own prince.
English National Ballet First Artist Barry Drummond finds a few minutes between classes, performances and rehearsals to fill Georgina Butler in with his thoughts on dancing in Nutcracker and enjoying the magic of Christmas…
English National Ballet opens its acclaimed Nutcracker at Milton Keynes Theatre this evening and First Artist Barry Drummond is looking forward to a busy run.
The festive family favourite boasts a sparkling seasonal story, captivating characters and delightful dancing. This ballet’s enduring popularity has seen the Company present a Nutcracker production every year since 1950, its founding year. Last Christmas, over 73,000 people made watching a performance of English National Ballet’s Nutcracker at the London Coliseum part of their holiday celebrations.
This year’s tour (beginning in Milton Keynes and then visiting Liverpool before a return to the Coliseum) continues the annual Nutcracker tradition while bringing choreographer Wayne Eagling’s version to audiences outside the capital.
First Artist Barry Drummond is already embracing the Yuletide season thanks to Nutcracker. As well as looking forward to being part of audience members’ Christmas celebrations, he is eager to make the most of his own festivities when the big day finally arrives!
“Nutcracker is a one-way ticket to festive cheer!”
[English National Ballet’s Barry Drummond performing as Older Freddie in Nutcracker. Photography by Ash.]
Ornate arm gestures, opulent costumes and overwhelming intensity combine in Shanghai Ballet‘s contemporary ballet Echoes of Eternity. Currently engulfing audiences at the London Coliseum in the powerful mysticism of the Orient, this production is part of the venue’s Shanghai Season and was devised thanks to a collaboration between Shanghai Grand Theatre and Shanghai Ballet.
Inspired by an ancient Chinese poem called The Song of Everlasting Regret, Echoes of Eternity is choreographed by Patrick de Bana (whose previous creation for Shanghai Ballet, Jane Eyre, was performed by the Company for their UK debut in 2013). His approach in Echoes of Eternity is predominantly derived from contemporary dance technique, with evocative Eastern embellishment. Indeed, the physical depiction of the work’s dynamic mix of drama and history could not be more removed stylistically from the classical ballets that often grace the Coliseum’s stage. There are no pointe shoes, the dancers’ feet flex, their torsos twist and hunch and many of the shapes and lines they make are distorted and contracted for emotional impact.
Still, despite its decidedly contemporary feel, this romanticised interpretation of a traditional 8th century story ably demonstrates how one of China’s most popular legends has all the narrative components you would find in the most enduring of classical ballets. We see the characters onstage dance with fervour during a long and shadowy journey. Along the way, they encounter eternal love, conflict, community, the supernatural, heartbreak, sacrifice, loss and longing – all those very human emotions and experiences that story-based ballets draw upon.