Birmingham Royal Ballet The Nutcracker Review
November 26, 2025 | Birmingham Hippodrome – Birmingham Hippodrome – Birmingham, England, UK
Indeed, The Nutcracker has been taking audiences on a magical journey for over a century.
Since George Balanchine reinvigorated interest in Pyotr Tchaikovsky’s famous work with the premiere of his production in the 1950s, the ballet has become a staple of the Christmas holiday season.
It’s a festive fairytale that appeals to all ages, making it a fun outing for audiences to come back to again and again. And, on the opposite end, it’s a brilliant way to introduce newbies to the art form.
Birmingham Royal Ballet’s Nutcracker embodies these qualities, and it’s appealing for new and old audiences alike. Created by Sir Peter Wright and first premiering in 1990, The Nutcracker has become a mainstay of the company’s calendar and the city’s holiday offerings.
The company’s strong technical abilities, along with their storytelling skills, is bolstered by the rich costume and scenic design to deliver a production that delights.
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Birmingham Royal Ballet The Nutcracker Review
I’ve seen this production three times now, and when the curtain rises, I am always transported, not to a fantasy land, but to a Victorian drawing room, with dark woods and decadent reds.
This home feels just as fantastical as the Land of Sweets, like traveling to another time. Playing with the inherent nostalgia that comes with romanticising the past, the magic starts for the viewer even before Clara starts to dream.
John MacFarlane, a frequent collaborator of Wright’s, designed the scenery and costumes that are vivid and almost overwhelming in the best way. It takes a moment to appreciate what’s on stage before you can turn your attention back to the dancers.
The sumptuous scenery goes hand in hand with the practical effects that makes the ballet even more magical.
From Drosselmeyer’s party tricks to rats scurrying across the floor, surprises are queued up to elicit gasps and laughter from the audience. Even the incredible transitions between scenes, including the iconic growing Christmas tree, are magic on their own; but they are based on the very real talents of the production’s crew.
On my third watch of the show, I was struck again by how Clara is an active participant of this story, which was one of Wright’s main intentions when creating the ballet. In this production, the role of Clara is performed by a member of the company, rather than a child, which allows the character to feature in the story more than she might be able to in other versions.
In this evening’s show, Rosanna Ely brings a delightful eagerness and enthusiasm to the role, finding a perfect balance of youthful curiosity and mature determination.
Near the start, when the Christmas tree is finally lit and the party takes a moment to appreciate it, everyone else slow steps away while Clara is the only one who moves forward. It’s a subtle hint that Clara is the main character in this story. She is not only drawn towards the tree itself, but also the possibility of the magic that Christmas can hold.
Later on, she encourages her father to join her mother in a dance, inspiring the rest of the party to join in the celebrations, and during the battle, she defeats the Rat King by hitting him with her shoe, and thus saving the Nutcracker Prince.
This of course is not a diversion from the traditional story, but it continues to reinforce Clara’s influence in the ballet.
She maintains a strong presence into Act II, not only watching the variations but joining the other dancers and participating in them as well.
In the second act, the company has the opportunity to show off the talented depth of dancers, ranging in styles from the energetic Russian dance to the languid Arabian dance, to the poised Mirlitons.
I believe these variations are also a massive draw for the approachability of The Nutcracker. It’s never long before one ends and the next one begins, making Act II easily digestible and engaging.
Alternatively, the Waltz of the Flowers is one of the longest pieces in Act II, yet it stands out as a highlight in this company’s production. The choreography is split into distinct sequences that ensure it’s not dull, and the dancers’ movement flows with the same energy as Tchaikovsky’s score, like petals would float on a breeze.
The Rose Fairy, performed by Reina Fuchigami, joins the waltz a few minutes in, reenergising the group. Fuchigami absolutely shines, floating on pointe before dazzling with quick footwork and succinct turns.
Her joy is amplified by Clara when they dance together in a call and response sequence. The playful conversation is a delight to watch and one of my favourite moments in the ballet.
Of course, you can’t have The Nutcracker without the Sugar Plum Fairy, and Birmingham Royal Ballet ensures the pas is executed with high attention to detail.
Beatrice Parma as the Sugar Plum Fairy and Tzu-Chao Chou as The Prince are regal and dignified, and Parma makes every step appear effortless.
The way Parma carries herself is exquisite and reminds me why this role has become so iconic.
The Sugar Plum Fairy represents everything a ballerina can be: artistic and athletic, dynamic and precise.
It’s what young dancers aspire to be one day, and in this production, Clara herself is a young dancer who becomes the Sugar Plum Fairy in her dream. It is another way Wright manages to keep Clara engaged throughout the entire story.
I like this interpretation, but I find it challenging to enjoy the transitional scene where Clara transforms into the Sugar Plum Fairy. The musical interlude comes as a shock, and one that I’ve not seen used in other productions. (If others do include this interlude, please share, I’m curious to know.)
I feel there is ample opportunity to incorporate a transformation scene earlier in the act and therefore tell the same story, but I understand that this would then limit Clara’s participation in Act II significantly. In order to have Clara’s involvement the entire time, Wright had to take some creative liberties.
Birmingham Royal Ballet’s Nutcracker demonstrates why this ballet has become an annual tradition for people around the world because it does the classic elements well. With engaging characters, playful choreography, and fantastical elements, it transports audiences on a timeless journey that brings them back year after year.
Featured Photo of Artists of Birmingham Royal Ballet in the Snow Scene of Sir Peter Wright’s The Nutcracker. Photo (c) Johan Persson.
