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.

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during English National Ballet's dress rehearsal of the Nutcracker

 

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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.

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.]

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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.

 

Shanghai Ballet in 'Echoes of Eternity' -

 

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A flurry of sparkling snowflakes, a cascade of blossoming flowers and a colourful hot air balloon drifting skywards – English National Ballet’s Nutcracker proved the perfect antidote to a woefully wet and windy Saturday!

Christmas seems merely a dim and distant memory now that the sparkly decorations have come down and January has well and truly arrived. However, inside the London Coliseum theatre the magic of the Yuletide season lingers this weekend as the venue hosts the final performances in this run of the festive – and fantastical – ballet.

Wayne Eagling’s exuberant Nutcracker premièred in 2010 and is the 10th version to have been incorporated into English National Ballet’s repertoire since the Company was established in 1950. Of all the 19th Century ballets, Nutcracker is the one which is most often staged and interpreted in strikingly different ways. English National Ballet’s current production includes some wonderful moments which are full of timeless Christmas cheer and plenty of divine dancing.

 

ENB's Nutcracker - Shiori Kase as Clara - Photo by Jason Bell

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Dazzling London début for Queensland Ballet

 

Australia’s Queensland Ballet made its London début with a spirited performance of La Sylphide last night.

Dancers from Down Under captivated crowds of theatregoers at the London Coliseum with Peter Schaufuss’s Olivier and Evening Standard Award winning 1979 retelling of August Bournonville’s enduring masterpiece.

Fleet feet, buoyant jumps and charming characterisation kept balletomanes rapt all evening. Fresh from a sell-out season in Oz, Queensland Ballet’s interpretation of La Sylphide undoubtedly demonstrates why the troupe enjoys international acclaim and holds a permanent place as one of Australia’s premier dance companies.

 

Queensland Ballet's 'La Sylphide'. Photo by David Kelly. View Post