The Nutcracker review, Royal Opera House: A Christmas treat on a handsome scale

The traditional production is back to full strength after 2020’s version, which was revised due to Covid

Yasmine Naghdi as the Sugar Plum Fairy in ‘The Nutcracker’ (ROH/Foteini Christofilopoulou)

The Royal Ballet’s Nutcracker is grand and gilded, a Christmas treat on a handsome scale. From its mighty growing Christmas tree to Yasmine Naghdi’s poised Sugar Plum Fairy, it’s an evening of festive sparkle.

Peter Wright’s production is firmly traditional. The heroine Clara starts her journey in naturalistic 19th-century Nuremberg, before spinning off into the fantasy land of sweets. Julia Trevelyan Oman’s scenery is delicately drawn, all snowy pine forests and spun sugar. The family party is full of bustle and charm, with the onstage children awed by the dancing dolls, or getting sleepy before the end.

Even the most traditional Nutcracker changes over time. In 2020, Wright’s production was revised for Covid safety: it reduced the number of child performers and took them out of the mouse battle altogether. For this revival, they’re back to full strength. It’s good to see a new generation of dancers as the war-like mice and embattled Christmas decorations, though the pacing of the battle needs more bite.

Isabella Gasparini is a bright, confident Clara, swept along by events. As her Nutcracker, James Hay dances with vivid spontaneity and a bounding jump. In the second act, his mime scene explains the story so far – I was turned into a Nutcracker! But! And then! – with lively detail. Gary Avis sweeps through the scene as the magician Drosselmeyer, swirling his cape with evident delight.

Naghdi dances the Sugar Plum with pearly warmth. She’ll slow a gesture in the middle of a phrase, giving it more space to bloom. In the solo, danced to a tinkling celesta, she steps out with thistledown lightness, matching the hushed thrill of the music. As the Prince, Matthew Ball dances with presence and bold attack. Barry Wordsworth conducts a loving account of Tchaikovsky’s irresistible score, responding to its magic and its heart.

The Nutcracker is full of supporting roles, moments for dancers to shine. Mayara Magri is a confident Rose Fairy. As the dancing Harlequin and Columbine dolls at the party, Leo Dixon and Mica Bradbury have a crisp clockwork quality. There’s a wind-up judder to their neat, pretty steps – before they’re carried off, stiff as dummies, to go back in their boxes. Movement is part of The Nutcracker’s stage magic, as persuasive as the soaring special effects.

Until 14 January, www.roh.org.uk