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.

Degas and the Ballet: Picturing Movement, Royal Academy of Arts

Dance was Degas’ obsession, throughout his life he examined and depicted figures with a hunger to show movement accurately and beautifully. He had no need to make money, his family were wealthy enough to support his vocation, and looking around the Royal Academy’s tribute to the artist, I wondered whether Degas ever intended these works to be displayed at all. Without the need and struggle to earn a living, Degas created art for his own enjoyment, his desire to realistically demonstrate figures in motion was a personal challenge.

The ‘Picturing Movement’ exhibition at the Royal Academy documents all aspects of the artist’s obsession through not only paintings and drawings but also photography and the influence this innovation had on his work is well covered. The earlier paintings were the most recognisable to me - demure scenes from the ballet rendered with a subdued palette. Though Degas shows examples of movement here, it is often calculated and carefully measured; sometimes the models were required to hold tricky en pointe poses for hours so Degas could capture ‘a single moment’.

His later work demonstrates an urgency - paintings that are busier, blurred and colourful; the looser brushstrokes show greater freedom and expression. A room is dedicated to the paintings of Russian dancers, an obvious preoccupation for him at the end of the 19^th Century. They are wonderfully dramatic but show less of the romanticism of the earlier pictures, instead there is a sensuality which draws the viewer in. Whereas in the earlier paintings we are voyeurs at a private rehearsal watching the shy ballerinas, here the show is blasé, in your face, they want us to watch them performing and dancing.

My favourite aspect of this show is the lovely sculpture, of which ‘Little Dancer, aged fourteen’ is of course the most famous, the largest and most exquisite, made in painted bronze and adorned with delicate muslin and silk. It is also the only sculpture exhibited in Degas’ lifetime. It is spectacular to see such fragile ballerinas moving with fluidity and yet cast in the toughest most solid bronze, it is a curious juxtaposition of movement and material.

Degas’ work has a timeless beauty and dignity and this exhibition presents this, I would happily go again and again, to wander round in a dream.

Degas exhibition continues until 11 December, book here.

Manon, Royal Ballet at The Royal Opera House

Last Thursday I attended Manon, Massenet’s ballet at the Royal Opera House, in what was the 223rd performance of the piece at this venue. It is a popular programming choice and offers two wonderful lead roles that are surprisingly character driven. We had (the cheapest) £6 standing tickets, in the upper slips, and so our view was rather restricted. Craftily though, before the lights went down, we clued up on which seats were left empty in the stalls, and in the first of the two intervals we crept down to enjoy the rest of the show from a premium vantage point!

Manon, a French girl is on her way to enter a convent. Her brother Lescaut, noticing a wealthy gentleman’s attraction to Manon comes to an arrangement with him. Meanwhile she falls in love with Des Grieux, an attractive young student. Torn between wealth and love, Manon struggles throughout the ballet to decide on which man to choose. As a result of her mischievous behaviour, her brother is killed and she is arrested and deported as a prostitute. The faithful Des Grieux follows her to America, where an exhausted and frail Manon dies in his arms.

Due to Edward Watson’s last minute injury, the role of Des Grieux was played by Steven McRae, an Australian dancer who I saw most recently in Christopher Wheeldon’s Alice’s Adventures in Wonderland. Watson’s absence was our gain: McRae gave a heartbreaking rendition of the desperate lover, as believable as it was skilful. Leanne Benjamin is pretty and tempting as the enchanting minx, Manon. She dances superbly, and despite being very petite, fills the stage with her perfect pointe and fluttering steps. As I watched I could hear the audience members around me gasping at her intensity and brilliance.

Kenneth MacMillan's choreography is impressive in its vitality and dramatic strength which brings the story to life. Occasionally some of the chorus routines feel a little clumsy and less composed than the sublime solo moments. The design, from Nicholas Georgiadis is stunning - I love the final mysterious jungle, with long green vines twirling down through which the main couple dance.

Perhaps not as inventive as the brilliant Alice ballet, but beautiful nonetheless.

Manon continues until 9 May 2011, book here.

Alice in Wonderland ballet at The Royal Opera House

I booked tickets for the Royal Ballet’s ‘Alice’s Adventures in Wonderland’ at The Royal Opera House way back in September which was lucky because despite only starting its run this March the entire run sold out last October six months ahead of the performances, too early for the popularity to be explained by the Black Swan phenomenon. So what is it that has made this new ballet such a predetermined hit?

Alice is the first full length work to be created by the Royal Ballet since 1995. Here finally is a piece to rival the Nutcracker’s supremacy, perhaps enough to knock it off the top spot. The mysterious tale is popular with adults and children alike as witnessed by the success of Tim Burton's recent film. It was just a matter of time before it was adapted and staged as a ballet.

This is storytelling at its very best, with no detail of Lewis Carroll’s original book neglected. Christopher Wheeldon is a provocative choreographer who seems to have examined the qualities of the narrative. The magic is all there, magnified even with an exquisite set and breathtaking puppetry. Even with the financial support that Wheeldon was fortunate to receive, the staging presents some seemingly impossible tasks... episodes like the growing and shrinking Alice are achieved miraculously.

Lauren Cuthbertson is a fresh, gracious and inquisitive young Alice. She has the ability to capture real emotion through both her dancing and her cheeky facial expressions; she is utterly engaging throughout. It is a big role to play, she barely leaves the stage, and when she isn’t falling or racing about, her time is spent twisting and twirling. The narrative is slightly altered in this adaptation: though lured down the rabbit hole by the bonkers white rabbit, it is the gardener’s boy (Sergei Polunin) she is keen to pursue, a love interest that is very much a part of the new storyline.

The music, by Joby Talbot, is suitably weird and wonderful; led by a huge percussion section of five bold players, the melodies soar and the rhythms match the dizzying story perfectly. I was sitting directly above the orchestra (high up in the £8 seats!) and could see the power and energy of the conductor Barry Wordsworth, the new score is obviously exciting them as much as it is being gratefully received by us. The music is at times very filmic but nonetheless very danceable and appropriate for Lewis Carroll.

I have played an evil red Queen in my time as a performer and can say she is a fabulously fun villain to be; fierce Zenaida Yanowsky triumphs as the Queen of Hearts relishing every ounce of nastiness much to the delight of the audience. She arrives in a red heart chariot, eyes glaring and finger pointing at anyone who dares look her way. The carriage later opens to reveal the poor tired King kneeling at her feet, kicked about by her dangerously pointed shoes. I have never heard the Royal Opera House roar with laughter like it did while Yanowsky frolicked about on stage, long gone are the pretty ballerinas.

The mad hatter, played here by a very talented Steven McRae, is meant to be a rambling chatterbox – a character that is difficult to convey in speechless ballet. Wheeldon replaces chatter with tap dancing, his marvellously frenzied footwork contrasts with the classically dancing Alice. The magnificent costumes leave little to the imagination, no expense is spared, everyone looks outrageous. I particularly loved the little kids rolling about in spiky outfits as the hedgehogs and the pink clad girls delicately hopping on one leg, mimicking flamingos.

I found the first act a little long, and was ready for the interval when it came. The second half moves more quickly, with awe inspiring dances, one after another. The choreography here is not as complex or virtuosic as it might be but amazes because it is beautiful and full of panache.

Long live Weeldon’s Alice, I predict it will be an immortal classic, a success that the Royal Ballet has been craving for a while. It is criminal that there are only six performances.

See more on the Royal Opera House website 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.