The Nutcracker, English National Ballet, Coliseum

For me it doesn't feel like Christmas until I've seen the English National Ballet production of The Nutcracker. Since singing in this show as a child, it has become an essential part of my festive season, symbolising the start of Christmas.

Every year I notice something different about the production, a tiny detail that particularly delights me. Thanks to talented choreographer Wayne Eagling, the last few years of the ENB Christmas show have been unbeatable. This year I was amazed by the exceptional children, who seem to take on more ensemble and solo dancing than ever before and dance with a confidence and vivacity to rival the adults. Siblings Lowri and Rowan Shone take on the parts of young Clara and Freddie, and they are both wonderful actors, producing witty mock arguments and dancing well too.

I was pleased to hear the snowflake chorus being sung live once more. Saving costs by not using a separate children's choir, the English National Ballet kids have to step up to the challenge, and though they look very pretty they don't quite reach the top notes securely.

Bridgett Zehr dances as Clara, her debut in this role. Zehr is a strong dancer, though her strained facial expressions often distracted me. She moves elegantly and eloquently on stage and as she dances the Sugar Plum Fairy her talent is evident. She makes a good foil to her partner, Nephew, danced by Esteban Berlanga. Together they produce some classic showy dancing, they make it look seamless and effortless and it was beautiful to watch.

The set looks even more spectacular than usual, with a mock ice skating rink, a growing Christmas tree, falling snow and flying hot air balloons... a dose of Christmas magic for children and adults alike, so imaginative and brilliantly executed that it makes you gasp when the curtain rises.

The orchestra seem to have a great time in the pit, you can tell they enjoy playing this annual piece of Tchaikovsky. Conductor Gavin Sutherland gives a sterling performance leading the troops, he puts his heart and soul into coordinating the musicians and dancers. My only quibble is that I think the orchestra could be a touch louder throughout.

As enchanting as ever, I am in no doubt that this is the Nutcracker production that best captures the essence of Christmas, and if you see any this is the one to pick.

Visit the website to book here.

THOROUGHLY MODERN MAN: Eugene Onegin, ENO

Pushkin and Tchaikovsky make a potent combination. Eugene Onegin is a staggering opera - one of the greats, and this new joint-production (with the New York Metropolitan Opera), directed by Deborah Warner, is a fresh and exciting version.

As always at the ENO, the opera is sung in English. This is not normally a concern, however this is one of the weakest translations I have heard the ENO work with. The rhymes are, at best, silly; and the language is often predictable and frothy. This won't matter to audiences in New York, who will no doubt hear it all in Russian.

Putting this to one side - the staging is impressive. The first act is staged in a country house, looking out on to the path and surrounding fields. It is a huge set, with massive girders on the ceiling, a staircase to the right, and large swinging barn-doors separating the relative safety of the domestic world from the outside. We are taken on a dramatic journey through ornate ballrooms, barren woods in winter, and on to the towering pillars of St. Petersburg.

In the title role Audun Iverson is physically commanding, but I never believed that the brain and soul of Onegin - complex and tortured - was working behind his eyes. The climatic outpouring of love at the moment he realises his mistake of refusing Tatyana, did not capture the audience as it might have done.

By contrast, Amanda Echalaz (Tatyana) was wonderfully committed to the role, particularly early on. Her first act aria, as she battles with her feelings for Onegin, was breathless and raw - she seemed locked into the mind of a young adult, coming to terms with love for the first time.

But it was Toby Spence (Lensky) who sprinkled magic over this opera. His second act aria, moments before his fatal duel with Onegin, was spine-tingling. It showed what opera is capable of when directed and performed effectively. Throughout his performance Spence sings close to the edge, taking risks at every opportunity, and it is this that makes him so compelling to watch.

The second act also marks the peak of this particular production. It sadly never reaches the same heights once Lensky has died. The final goodbye between Onegin and Tatyana almost bordered on pantomime, and there seemed to be something missing from the final act in general. There did not seem enough tension generated by their re-introduction (after a three year separation) at the beginning of the act , and it proved impossible to regain that momentum from there on in.

The vast chorus perform well, but are never as engaging to watch as the dancers, who steal the limelight in the ensemble scenes.

It is a shame that the final moments of this opera fail to live up to much of what has come before. The second act, in particular, really is tremendously exciting, and if maintained, may have resulted in one of the opera events of the year.

Eugene Onegin continues until 3 December, book here.

Written by a Thoroughly Modern Man, Alex Knox.

The Marriage of Figaro, ENO

Some things work, others don’t in Fiona Shaw’s new production of The Marriage of Figaro at the ENO. The set is not to my taste, a modern white labyrinth structure that looks just too temporary. The endlessly revolving centre of the stage muddles the action rather than enhancing it. Furthermore I was confused about the period in which Shaw sets the opera, the set is overwhelmingly modern and yet the costumes seem to suggest the 18^th century.

I did feel sorry for the ENO on the night, with the last minute illness of Kate Valentine (playing the Countess) they had to find a very fast replacement and Elizabeth Llewellyn rose to the challenge with impeccable style and stamina joining the cast and fitting in remarkably. Llewellyn is a brilliant actress and competent singer and they were incredibly lucky to get her, she gave a stand out performance.

This is not my favourite of the Mozart operas, it is lengthy and drags a little, nonetheless there are numerous toe tapping tunes. Iain Paterson is thrilling as Figaro giving a humorous rendition of the title role, and proves himself to be a competent actor as well as being vocally brilliant. Devon Guthrie as the much desired Susanna looks and sounds the part and interacts beautifully with Paterson. My favourite performance of the night was Katryn Rudge as the petite Cherubino, Rudge has a gorgeously bright and spritely voice and suits the cheeky role perfectly.

Conductor, and former ENO Music Director, Paul Daniels leads the orchestra through this frantic score with a firm but expressive hand, and the players respond well.

After seeing the ENO’s spectacular productions of The Passenger and Elixir of Love I was expecting a lot from this Mozart classic, but I must admit, I left feeling a little disappointed.

Visit ENO website and book tickets here.

Napoletango, the Latin Neapolitan musical, London Coliseum

With summer comes the arrival of foreign touring companies, ready to delight London audiences with their best material. It is a chance for us to see something a little different. A few nights ago I was invited see Napoletango, the Latin Neapolitan musical, on the great Coliseum stage; the European company had a big task to fill the famous auditorium. After acclaimed performances at the San Carlo Theatre in Naples, and a sold out run across Italy, I was excited to find out what is so special about this show.

The story is quite simple: the Incoronato family are a travelling troupe of twenty entertainers, all have a passion for Tango and hope to achieve their dream to perform on Broadway. The production includes every aspect of the group’s journey from street to stage. Embracing individualism and celebrating the human spirit, the group is made up of very different characters, in an effort to show that anyone, with passion and determination can dance the tango.

It is the scenes from everyday life that are the most touching. We watch the company sleep in a squalid tavern, shower naked (!), even cook an Italian dish on stage - it is endearing and affecting, and seemed to immediately capture the hearts of the Coliseum audience.

The show is often mad and completely chaotic, and at times I was completely lost... it doesn’t help that much of the spoken conversations on stage are not translated. However the musical is imaginative and sensual, and I personally always enjoy experiencing something completely new even if I leave feeling a little perplexed. Every member of the large cast seems completely devoted to their role and and contributes to the magical spirit on stage. In the curtain call one girl seemed to be crying with pride, so chuffed by the audience's standing ovation and rapturous applause.

Of the cast, only two are professional tango dancers. Pablo Canaro is the most spectacular, moving with elegance and charisma across the expansive stage. Originally rejected and mistreated by the Incoronato family because they don’t understand the dance steps, he is eventually accepted and gives a staggering final performance in the Argentinian Tango.

Sadly Napoletango only visited London briefly with performances at the beginning of August, but it is worth checking out the website here to find out more about this exceptional and truly unique theatre company.

http://www.teatroeliseo.it

The Nutcracker at The Coliseum

Everyone has something that makes them feel specially festive around this time of year. Maybe it’s the Christmas lights going up around London, or your first mince pie, for me it is the English National Ballet’s production of The Nutcracker. Every year The Coliseum hosts this wonderfully Christmassy show, and this year is their best production yet.

My first experience of Tchaikovsky’s Nutcracker was at the age of 12, when I performed in the chorus with my choir. We stood in the massive orchestra pit to sing the short snowflake chorus part, which comes just before the interval. I sung in the ENO Nutcracker for the next three or four years, a magical experience; it always felt like the start of the Christmas season for me. When the production changed and they no longer needed children singing live, I was sadly out of a job, so I went to see the ballet instead. This has been a tradition ever since.

Now, at the age of 22 I thought I knew what to expect, but this year was honestly more sublime than all the other productions that have come before it. The show celebrates 60 years of The English National Ballet in true style and splendour. This year the ENO welcomes a new production, a World Premiere - the creative team must be congratulated on their vision, which is perfectly realised on the great Coliseum stage. Wayne Eagling’s choreography is meticulous but measured and shows the dancers to be confident and daring. The players are as stunning as ever, but this year, with a new lease of life from a fresh production, they seem renewed. Even the youngest dancers stand out as having exceptional talent, tip-toeing their tiny feet across the massive stage. I was delighted to find that the production is, once again, using live singing for the snowflake chorus... twenty or so kids stand tall in the box closest to the stage singing their hearts out.

Peter Farmer has created a magical design for the story that plays with the central themes of fantasy and fun without the vulgarity of Gerald Scarfe’s previous production. Last year The Nutcracker had a cartoon feel, this is replaced by Farmer with an image of Victorian elegance, and an air of romantic nostalgia. I am so glad that this classic has been returned to its rightful character, attempts to modernise it damage the magic of the show.

The Nutcracker is on until Thursday 30 December, with Matinee and evening performances on most nights, book tickets here.