The Nutcracker, Royal Opera House

We very nearly didn’t make it to the New Year’s Eve performance of the Nutcracker at the Royal Opera House. Tired and discouraged by the gloomy wet weather we were tempted to stay in with a cup of tea in front of the fire. Reminding myself (and my friend) of the uplifting music and sumptuousness of the Royal Opera House productions, we jumped in the car and sped towards Covent Garden, before we could change our minds again.

Uninterested by the mad New Year's Eve nightlife in London, a trip to see the Royal Ballet seemed a perfectly civilised and special alternative. We followed the crowds of best dressed kids up into our cheap seats, and I gleefully got out my beautiful vintage opera glasses I was given for Christmas.

The ballet was beautiful as ever, stunning dancing, costumes and set, and with an orchestra of tremendous force and quality. The interpretation of the story however did confuse me slightly, and I prefer the English National’s Ballet’s more romantic and traditional take on this classic work.

The story begins and ends in the toymaker's workshop, instead of in Clara’s bedroom, strangely making the narrative less enchanting, leaving the audience bewildered about the logistics of the tale, is it a dream or not? We never meet Clara as a child, instead lead ballerina Leanne Cope dances as the young girl throughout, also taking part in the second half show performances which is very odd. Perhaps I have been misled as I grew up with the English National Ballet version, however I think even for a Nutcracker first timer this story choice would be incongruous.

Moving down surreptitiously to a superior box for the second half (I spotted it during Act 1) we had a magnificent view of the production, and it truly sparkles. Leanne Cope is so smiley, it is impossible not to enjoy her performance as Clara and Paul Kay shows great strength and character dancing as her partner, the Nutcracker. Several of the cast were away for our performance but the substitutes were certainly not second rate, Marianela Nunez is a very precise and elegant Sugar Plum Fairy and Yuhui Choe is poised and lovely as the pretty in pink Rose Fairy.

It was quite simply beautiful, the perfect afternoon out, and the perfect way to end 2011.

Continues until 18 January, book here.

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.

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.