Old festive favourite is still a real cracker
The Nutcracker (Scottish Ballet) Seasonal spectacular
SOMETIMES, I allow myself to wonder how many crusty old critics can even remember the first time they ever went to the ballet.
I do – and, like many theatregoers – it was The Nutcracker I saw; and yes, it was Peter Darrell’s production for Scottish Ballet; and yes again, it was at the Theatre Royal in Glasgow.
Unlike many theatregoers, however, my first balletic experience was professionally, rather than parentally, led.
It was around Christmas time in, I think, 1981. My then editor said to me: ‘Tom, have you ever been to the ballet?’ ‘No,’ I replied, truthfully. ‘Well, you’re going tonight.’
Thus did what I laughingly refer to as my theatrical career begin – and it certainly was the start of a lasting love affair.
The Nutcracker, of course, serves as the introduction to ballet for many, many people. It is, after all, one of the most popular – and profitable – ballets ever created. Though it does have to be said that, when it was premiered at the Imperial Mariinsky Theatre in Saint Petersburg on December 18, 1892, Tchaikovsky’s now much-loved creation was rather less than a resounding success.
Indeed, it was not until the past half century or so that it has become so phenomenally popular – a process that can probably be traced back to the New York City Ballet’s first annual performance of George Balanchine’s staging in 1954.
TODAY, The Nutcracker is so successful across the Atlantic that the major North American ballet companies generate 40 per cent of their entire annual ticket revenues from Christmas productions of it – a truly astonishing statistic.
It was around mid-way through this global popularisation process that Darrell unveiled his seminal, celebrated version for Scottish Ballet at the Lyceum Theatre in Edinburgh on December 19, 1973.
Designed by Philip Prowse of Citizens’ Theatre fame, it was a visual revelation, quite unlike anything ever seen before on a Scottish stage.
Current artistic director Christopher Hampson’s revival, dating from 2014, pays loving homage to Darrell’s ground-breaking version. Even Lez Brotherston, that most unique and original theatrical designer, hasn’t deviated far from Prowse’s colourful vision.
One of the reasons for the frosty reception given to the original Saint Petersburg production was Tchaikovsky’s then somewhat shocking insistence of casting children to dance children’s roles.
For decades afterwards, the parts were almost always played by adult dancers. But Darrell cast children again – as does Hampson today.
As Clara, the little girl who falls under the magical spell of her Christmas present Nutcracker doll, Ailish Ogilvie exhibits a wide-eyed wonder as she plunges headlong into the dream worlds of the battle against King Rat and his army of mice, and her journeys to meet the Snow Queen and the Sugar Plum Fairy. But she can dance as well – which is absolutely crucial if children are to continue to be cast in such roles.
Most of all, The Nutcracker is a Christmas creation; a festive fancy; a seasonal spectacular – a New Year nonsense, even, but in a good way.
In this production, Scottish Ballet’s Gallic core is to the fore, with both lead female roles danced by French ballerinas.
Sophie Martin is glacially intense as an icily beautiful Snow Queen, introducing Clara to her brilliant white kingdom before waving her off to the Sugar Plum Fairy’s chocolate box Land of Sweets.
As the Fairy, Constance Devernay is a scrumptiously elegant confection, her great pas de deux with the Nutcracker Prince (Andrew Peasgood) providing a fittingly wondrous climax to one of the most visually arresting works in the entire balletic canon.
Much joy is also derived from Tchaikovsky’s famous score, full of instantly recognisable melodies. The Scottish Ballet Orchestra under Jean-Claude Picard rose to the occasion with an exuberant interpretation.
IMUST confess I do not recall this next bit myself, but some old Scottish Ballet hands insist that, back in the day, when the Dance of the Reed Pipes began, a certain section of the audience would gleefully start to sing: ‘Everyone’s a Fruit and Nut case.’
True? I don’t know but I do hope so. But I’ll tell you this for nothing. If it happened anywhere, it was in Glasgow.
Remember, this was a time when the infamous Special Unit in Barlinnie Prison was commonly referred to in the city as The Nutcracker Suite.
The Nutcracker, Scottish Ballet, Theatre Royal, Glasgow, until tomorrow; His Majesty’s Theatre, Aberdeen, January 17-20; Eden Court, Inverness, January 24-27; and Theatre Royal, Newcastle, January 31-February 3.