Get Out More.........................................Theatre Review

MATTHEW BOURNE’S NUTCRACKER (Hippodrome, till Saturday)

27-03-2008

Matthew Bourne's re-imagination of classic dance and theatre has proved a reliable box-office turn. Terry Will sees for himself what all the fuss is about.

Just what is about dance director Matthew Bourne that seemingly determines that any production he undertakes has the sweet smell of success written all over it?

Following his success of turning the Opera Carmen, into Car Man, seen at the Hippodrome last year, his current interpretation of the ageless ballet The Nutcracker has to be classed in the same vein.

A great deal of thought, not to say inspirational planning lies behind his ventures.

As he remarked in a post show question and answer session with the audience all of the great classical ballet stories are based on fantasy, fairy stories, and imagination.

None more so than ‘Nutcracker’.

For those unfamiliar with Tchaikovsky’s 115 year old story, the original is the tale of a brilliant doll maker. On Christmas Eve he visit visits the Dross family to join in a friends and family party.

Bearing presents he hands out gifts to their two children - wide-eyed innocent Clara (he’s her godfather) and her spiteful mischievous brother Fritz.

Clara’s present is ‘Nutcracker’, a handsome sculptured doll. She immediately falls in love with such a beautiful present but spiteful Fritz damages the doll leaving Clara to sadly climb into her bed on the stroke of midnight disappointed that her beautiful present had been damaged beyond repair.

But had it? She amazingly discovers her Nutcracker doll had come to life turning into a handsome Prince. Her heart had been taken. The love of her life was there before her eyes. A series of adventures followed until her ultimate dream was realised. She married her handsome Prince and was to live happily ever after.

Or had it simply been a dream, a fantasy that had no substance in reality?

Therein lay the challenge to Matthew Bourne. How to interpret a classical story for a modern day audience?

He moves the location to an orphanage for waifs and strays run by Dr Dross and his Matron Wife. A couple devoid of any ‘natural’ feelings for the children in their care.

Ruling with a rod of iron they greet the founders of the orphanage with a display of false feelings as presents are handed out to the children. But as soon as the benefactors take their leave the presents are either damaged, discarded, or locked out of reach in a cupboard.

At midnight Clara climbs into her bed, sneaks downstairs, finds the key to the cupboard and on opening it is astonished to discover Nutcracker has been transformed into the handsome Prince of her dreams.

Was this purely a dream? Could she find happiness and eventually marry Nutcracker? Let the adventure begin before the end is revealed.

From then on the storyline took second place. Act One (the orphanage) is set against a dark/monochrome background (a tribute to The Wizard of OZ apparently.) Cheerless, uninviting and as far removed from the Spirit of Christmas as can be imagined.

What a transformation. In Act Two Carla finds herself in a magical technicolour world of fantasy surrounded by a myriad of colourful characters. A frozen lake, falling snowflakes, which while being magical has the heartbreaking sight for Carla of a rival bidding for Nutcracker’s affections.

The story moves on to ‘Sweetiland’ where all the characters are delicious treats!

For some the story may be considered confusing, but that's forgotten as the fantasy behind Bourne’s interpretation of a classical ballet, incorporating Tchaikovsky’s much loved musical score, moves on.

It’s time to simply look and enjoy dancing that can only be described as unclassifiable.

It’s not classical ballet. It’s not contemporary dance in the accepted sense. It’s not musical theatre. It’s simply innovative dance aided by slices of comedy and parody that led to prolonged applause as the curtain came down to round off a very enjoyable evening.

The roles of Dr Dross and his Matron Wife are danced by Adam Galbraith and Mami Tomotani. Daughter Clara is Michela Meazza, and son Fritz is Drew McOnie.

Dashing Prince Nutcracker is danced by Alan Vincent, while for me, Clara Biggin as Carla danced her role to perfection. Bewildered one moment, delighted the next.

A special mention for set designer Anthony Ward. The sight of a mammoth wedding cake surrounded by the full company is breathtaking in itself and as Matthew Bourne admits to drawing inspiration from innumerable theatre and Hollywood musicals, this bore the stamp of the legendary Busby Berkley productions that showcased the talents of Fred Astaire and Ginger Rogers.

(Conversely the bleak interior of the orphanage, run by Madame Dross, bears a distinct resemblance to the much loved musical Annie and the cold hearted Miss Hannigan!)

All in all Nutcracker is a family show for those who enjoy innovative dance, and such is the strength of Matthew Bourne’s New Invention Dance Company that the principles roles are rotated sometimes on a nightly basis.

(Indeed in this production dancers are required to play dual roles which has to be a challenge for the most talented members of any company)

But whoever undertakes the roles you can be assured the production will bring a similar response from Hippodrome audiences.

As Mr Bourne states in his programme notes “Birmingham Hippodrome continues to be one of the most important dance venues in the country and has some of the best facilities for dancers. I am privileged and grateful to have such a strong relationship with all at the Birmingham Hippodrome and the audiences who have been so supportive of my work and my Company”