It’s that time of year again – The Nutcracker season! This beloved ballet holds a special place in my heart, thanks to Tchaikovsky’s iconic score, which captures the wonder of the story so perfectly. In fact, it’s fair to say that the music is as famous as the ballet itself, with unforgettable pieces like the Waltz of the Flowers and the Dance of the Sugar Plum Fairy transcending the stage.
The Dutch National Ballet’s Notenkraker & Muizenkoning (The Nutcracker and the Mouse King), choreographed by Toer van Schayk and Wayne Eagling, stands out for its originality. Blending reality with fantasy, it incorporates Dutch touches like Sinterklaas and ice skating on the canal, while featuring Clara Staalboom as the lead. The creativity and attention to detail – like a cupboard transforming into a castle – were striking, a testament to how Het Nationale Ballet masterfully blends timeless tradition with modern innovation in their productions. Despite premiering in 1996, this production feels fresh and modern, while honouring the timeless charm of the classic tale.
As with many versions of The Nutcracker, the magic for me truly began with the Battle Scene. This interpretation was dynamic, chaotic, and immensely powerful, thanks to its intricate choreography and the seamless synchronization between the two opposing sides. Robin Park was spectacular as the Mouse King. Despite his face being hidden behind a mouse head, his sharp movements and powerful jumps radiated menace and authority, vividly portraying his character’s malevolence and strength.
Last night Anna Ol and Jan Spunda delivered captivating performances as Clara and the Prince. Ol brought warmth and grace to Clara, with expressive mimics, precise footwork, stunning arabesques, and impeccable poses that felt like perfect snapshots. Spunda, meanwhile, impressed as the Prince, exuding confidence and charm with every leap and soft landing, his stage presence commanding attention. Together, they displayed remarkable harmony, their movements a delight to watch – especially in the Grand Pas De Deux of Act II. This duet, thoughtfully revised by van Schayk and Eagling, retained the essence of Petipa and Ivanov’s original choreography while beautifully amplifying Tchaikovsky’s emotional crescendos.
The evening’s most breath-taking moments came courtesy of the corps de ballet in Snowflakes and Waltz of the Flowers. Their flawless synchronization and technical precision, paired with exquisite choreography, were mesmerizing. I found myself watching them breathlessly, completely transported.
Costumes and set design are crucial to immersing the audience, and this production excelled in both. The vibrant Act II costumes showcased remarkable craftsmanship, while the enchanting set design brought a fairy tale to life. Unique touches – like the lantern, living room in Act I – made this production feel truly special. I didn’t even miss the traditional Christmas tree, as the other creative elements more than compensated for its absence.
As a devoted fan of The Nutcracker, I missed the character dances from Act I, such as the Doll and Harlequin. In Act II, particularly in the Arabian and Chinese Dances, I hoped for more nuanced and expressive choreography that could better capture the depth of the music.
Overall, Het Nationale Ballet once again delivered an unforgettable experience. For nearly two and a half hours, I journeyed with Clara through her fears, surprises, and joys, meeting unforgettable characters brought to life by Tchaikovsky’s magnificent score, conducted masterfully by Koen Kessels. This production is a testament to the enduring magic of The Nutcracker and the brilliance of Het Nationale Ballet. Cicek Isiksel Sonmez 18th December 2024
Photo by Hans Gerritsen
