Eden Court Theatre, Inverness, 20-24 January 2004

ASHLEY PAGE, the new artistic director of Scottish Ballet, promised that his new ‘Nutcracker’ would not be the conventional sugary confection, and was true to his word. Page and his designer, Antony McDonald, went back to the original source of the familiar story in ETA Hoffmann’s nightmarish fable, rather than the later and less powerful adaptation by Alexandre Dumas (son of the author of The Count of Monte Cristo), and set about transforming the ballet.

Scottish Ballet's 'The Nutcracker'

It should be said from the outset that this is still entirely appropriate as the Christmas favourite that The Nutcracker has became, with lots of traditional classical ballet (on points and in tutus), especially in the sumptuous second Act. The Sugar Plum Fairy may have disappeared, but her dance remains, along with the famous pas de deux for the hero and heroine, beautifully executed by Soon Ja Lee as Marie (no Clara here, either, in keeping with Hoffmann’s original), and Tamas Nagy as The Nutcracker Prince.

The standard of dancing was very high throughout the production,  both in the all-action ensemble set-pieces and in the solos, duos and smaller ensemble segments. It is clear even at this early stage that Page is building a very talented corps of dancers, and one that is able to take both classical and contemporary choreography in its stride.

The enthralling ensemble work in Act 1 provided the most telling evidence for those looking for signs of Page’s new approach. The spectacular sets provided a striking complement to some imaginative mixed choreography, incorporating elements of contemporary movement alongside classical techniques. The overall atmosphere of the piece was more menacing than usual, and more pointed (but never excessively so) in its awareness of the underlying theme of Marie’s sexual awakening and growth towards womanhood.

Tchaikovsky’s great score, ably performed by the Orchestra of Scottish Ballet under conductor Alan Barker, was as radiant as ever, and a giant image of the composer himself peered benignly through the window at one point in Act 1, part of a quick-fire alternation of action that kept us all on our toes.

This is Page’s first full two act ballet, and refreshes a perennial Christmas favourite after (literally) decades of reviving Peter Darrell’s much-loved but overworked production in some style. On this evidence, exciting times lie ahead for Scottish Ballet under their new guiding force.

The Nutcracker plays at Eden Court until Saturday 24 January 2004.

© Kenny Mathieson, 2004