Review: THE NUTCRACKER, Royal Ballet And Opera

Ballet lovers will all have their own relationship with Sir Peter Wright’s The Nutcracker. Since 1984, it has brought cosy familiarity and festive charm to the Royal Ballet’s repertoire and over the years, it’s been a privilege to see dancers rise through the ranks, watching as they move from Clara/The Nutcracker to the Sugar Plum Fairy/Prince. It was much missed last year (it’s skipped roughly once every five years) in favour of Frederick Ashton’s inferior Cinderella, but now it’s back in its rightful place, radiating warmth and delivering some thrilling individual performances.

The Royal dances this production like a company who knows it has the best Nutcracker in town, and it’s a crowded market. Wright’s choreography with Julia Trevelyan Oman appealing designs are timeless and opulent, while the dancing in the Kingdom of Sweets is, as always, creamy and sumptuous. 

I remain underwhelmed by the lengthy party scene, however. It is of course a necessity that drops vital hints and to later events and initiates the relevance of many supporting characters but it can be wooly and unfocussed - the stage is very busy. The highlight is Thomas Whitehead’s commanding Drosselmeyer, eye-catching in his teal and gold cape, he reassures the audience on this journey with easy control over proceedings. 

Viola Pantuso is a naive and youthful Clara, paired down from her usual sophisticated stage persona, she is all wide eyes and dainty steps. Having only been with the company four years and already achieved Soloist ranking, she has solid experience in the role. She dances with a technical assurance and later a gentle reverence and curiosity upon meeting the regal Sugar Plum and Rose Fairies. 

It’s not long to wait to be swept up in the magic of it all though, Drosselmeyer’s sprinkling of sparkly gold glitter never fails to dazzle before Tchiakovsky’s score builds and the modest Christmas tree grows until it nearly fills the back of the stage, Clara spins in a frenzy of chaîné turns as the action melts into the beginning of her dream.

Leo Dixon is another safe pair of hands as Hans-Peter/Nutcracker, together he and Pantuso are a handsome duo with a sweet chemistry. Their pas de deux is light and heartfelt, Dixon’s posés elegantly and has a soundless jump, while Pantuso’s Clara begins to mature before our eyes. 

The Snowflakes are the highlight of Act One and drilled to perfection. Not only are they slick but they attack Wright’s choreography, the sight of them all hopping diagonally down the stage in unison is so thrilling and the committed fluttering of the hands, you’ll positively float out to the interval. 

To the Kingdom of Sweets, the set for which still has the wow factor. Dixon commits well to the mime that tracks his and Clara’s escapades so far, and then we’re on swiftly to the divertisements. All were delivered competently, although there was perhaps some room for tightening up the synchronicity, the updated choreography for the Chinese dance favours power over style, but Melissa Hamilton in the Arabian is always a treat, undulating and slinking smoothly with Nicol Edmonds.

Sae Maeda is a vibrant and agile Rose Fairy. An impressive First Soloist who largely flies under the radar, she dances with confidence, skipping merrily through her pique turns and tours. Later, she compliments Pantuso’s Clara nicely as they copy each other's steps in a sweet variation. 

Finally, the moment we’ve been waiting for. Watching Fumi Kaneko and William Bracewell as the Sugar Plum couple on opening night felt like we were seeing one of the great partnerships in ballet. These are two artists just hitting the peak of their powers. They revel in the difficulty of the pas de deux, luxuriate in the choreography and even bring added excitement with textured and unpredictable dancing. 

For both the musicality is faultless, Bracewell’s solo is particularly understated and neat, textbook stuff. The choreographed catches are secure but with a little extra wildness as Kaneko swings from side to side. She adds drama too with the supported pirouettes and a sassy flick of the hands, a powerful mark I had not expected, but sure is exciting to watch. I’ve adored watching Kaneko for years, but mostly felt her dancing was simply pretty, but here she feels every part the leading lady. Both have a majestic stage presence. 

The end of the pas de deux means things are wrapping up, which feels slightly devastating after such a breathtaking display but that is of course, the point. Wright’s Nutcracker is kind of review proof, the Royal’s talent is abundantly clear, you’ll have a good time whichever cast you see, whether it’s from seasoned veterans or exciting debutants, you’ll no doubt leave feeling wholly content and ready for Christmas. 

The Nutcracker runs at the Royal Ballet and Opera until 5 January 2026