Birmingham Royal Ballet’s Nutcracker returns with magic, scale and flawless storytelling

Birmingham Royal Ballet is long regarded as one of the city’s glittering treasures. The current production of The Nutcracker at the Hippodrome is not only festive but feels essential to the Christmas season. Running until 13th December, this year’s production is a well worth seeing.

From the moment the curtain rises on John F. Macfarlane’s sumptuous Victorian drawing room, the audience is immersed in an atmosphere of warmth and nostalgia. The set glows with rich detail - the crackling fire, the glint of chandeliers, the frosted light peeking through tall windows - and the party scene bursts into life with charming naturalism. Children chatter and dance around the adults, who glide through their social niceties with crisp elegance. It is a world saturated with Christmas magic even before the enchantment begins.

BRB’s Nutcracker dazzles at the Hippodrome BRB’s Nutcracker dazzles at the Hippodrome

Sir Peter Wright’s production, now a firmly loved classic, is handled here with extraordinary confidence. The transitions between the domestic world and Clara’s dreamscape feel seamless, and as the Christmas tree grows - one of the great theatrical illusions of British ballet - there’s a collective intake of breath across the auditorium. The effect is as breathtaking as ever: majestic, surprising and irresistibly childlike in its wonder.

The choreography remains faithful to the traditional spirit of the ballet, but the company invests every scene with renewed energy. In the first act, the battle between the mice and toy soldiers is properly thrilling. The soldiers march with clipped martial precision, and Callum Findlay-White as the Mouse King, strikes just the right note of fun and menace. Sofia Linares’ Clara allows bravery and innocence to shine through, whilst her partnership with Mason King as the Nutcracker-turned-Prince provides elegance to the story.

The Kingdom of Sweets in Act Two is, simply, glorious. Birmingham Royal Ballet has always excelled in this section, but this year’s company looks especially strong. Each divertissement is distinct and engaging: the Spanish dance is bright and fiery, the Arabian variation is hypnotic, and the Chinese dance is crisp and buoyant without tipping into caricature. And as expected, the Russian dance brings the house to life with explosive jumps and rhythmic attack.

A sparkling Nutcracker lights up Birmingham www.easterneye.biz

The Waltz of the Flowers is one of the evening’s high points. The corps de ballet move as though carried by a single breath, petals unfurling in perfect unison. It is a moment of visual harmony that feels almost painterly, drawing appreciative murmurs from the audience.

But the crown of the evening, of course, is the grand pas de deux between the Sugar Plum Fairy and her Prince. Celine Gittens as the Sugar Plum dances with crystalline technique and unforced grace. She glides and floats across the stage. Her footwork is mesmerising. Mason King partners her with strength and serenity, their lifts sweeping and effortlessly musical. Together, they deliver a finale that is both technically triumphant and deeply moving, the embodiment of the ballet’s magical promise.

BRB brings festive magic back with The Nutcracker

The Royal Ballet Sinfonia, under assured direction, brings Tchaikovsky’s score to life with warmth. The orchestra illuminates the familiar melodies without ever overwhelming the dancers; the balance is refined, detailed and emotionally exuberant.

What makes Birmingham Royal Ballet’s The Nutcracker so enduring is not just its technical excellence but its emotional sincerity. It is a production that invites the audience to believe - to step, willingly, into a world where toys come alive, snowflakes dance in shimmering formation, and goodness triumphs with grace.

This year’s staging is a perfect Christmas treat; it reaffirms the Hippodrome as one of the UK’s great homes of ballet and ensures that The Nutcracker remains the city’s glittering holiday centrepiece.