Most people know the fairy tale of The Nutcracker and the Mouse King, written by the German Romantic, E.T.A. Hoffman. In his tale a quite ordinary Christmas Eve gathering of family and friends provides the realistic framework for a story in which strange and wonderful incidents weave fantasy and reality together into a 'fascinating and unfathomable labyrinth.' The fantasy and wonder created by Hoffman's tale is still very evident in the balletic interpretation of The Nutcracker. 

 The first ballet production of The Nutcracker was premiered in St Petersburg in 1892. English National Ballet, originally known as London Festival Ballet, first performed The Nutcracker at the Stoll Theatre in 1950. The immediate success of London Festival Ballet's performances ensured its place in the Company's annual Christmas season, and The Nutcracker has been performed by English National Ballet every single year since that first production.  The Nutcracker is essentially a ballet which appeals to the child in all of us - whatever our age. It is charming, innocent, magical and above all, fun.

 When I was invited to review this piece, I had not really dwelt on the fact that the opening night was to be the world premiere of a new ballet creation. However, when I arrived at the Bristol Hippodrome on the 10th November, I was greeted by buzzing crowds, flashing cameras and whispers that "Angela Rippon (Chairman of ENB's Board of Governors) was inside".

 As I settled into my seat I felt a sense of anticipation, knowing that I was about to watch The Nutcracker, one of my favourite ballet's and the first I'd ever seen at the age of four. As the overture began and the ENB's 47-piece orchestra started to play, Tchaikovsky's familiar score floated over a hushed audience. The magic had already begun.

 The curtain rose to reveal a vivid, bright set with a large-scale 'story book' centre-stage. Drosselmeyer (Irek Mukhamedov) - a magician, a showman and, in this piece, the storyteller, was dressed in leathers with spiky punk hair, in contrast to the usual magician's cloak. Mukhamedov, quite literally, 'leapt' into the role as he began to bring the illustrated characters to life. The appearance of Clara, wearing a red velvet leotard, party skirt and a bright red chin-length wig, and spiky-haired brother Fritz, kitted out in a teeshirt which read 'NUTS', assured me that this production would definitely be one to catch the imagination and vastly different to any other productions of The Nutcracker which I had seen previously.

 As the party scene commenced I began to enjoy this dramatically different concept, soaking up the larger-than-life characters before me and the new-found vibrancy of each scene. The portrayals of Grandpa (Kevin Richmond) and The Maid (Clara Barbera) were wonderfully interpreted and these were just two of the many characters who enhanced the colourful party scene - the chuckle-provoking comedy not masking the firm technique of the dancers.

 From her first entrance, Erina Takahashi's Clara was portrayed with youthful vitality, her tiny form making her character all the more believable. There was admirable fluency in her movement and Takahashi appeared to float through the complex choreography with ease.

 One particularly thought-provoking moment (which is already causing controversy in the press) was the appearance of soldiers and military mice, complete with guns and gas masks. Perhaps this is one of the elements which brings this production into the modern day? It is certainly an interesting aspect to consider. 

 The well-known Thomas Edur became the Nutcracker Prince, taking on the part with great sensitivity, displaying fine technique, and dancing a memorable and beautifully choreographed pas de deux with Takahashi. Edur's talent was magnified all the more when dancing with Agnes Oaks, the Sugar Plum Fairy - together, they deliver some of the finest ballet I have ever seen.

 Another notable performance was that of the explosive Yat Sen Chang, who recieved rapturous applause for his flawless Russian solo.

 The problem facing producers nowadays is how to make something which was created over a hundred years ago relevant to today's audiences without destroying the essence of the original. Each successful production has its own answers, but most of the really successful productions have been those which stick faithfully to the spirit of the original, even if some of the individual elements have changed. In my eyes, Hampson and Scarfe have created one of these 'successful productions'. 

Apart from a technical hitch before the beginning of the second half, for a first night performance, this was well-polished. One thing I did feel was missing was the end. Clara and her Prince flew off together into the distance and we were left in the fairytale Kindom of Sweets. I was waiting for that heart-touching moment when we return to Clara's family home to find the little girl alone with her Nutcracker Doll. I left the theatre feeling that the story had not quite been brought to an end. As I left the theatre, I walked down the red carpet which had been rolled out, and snow was falling just outside the foyer. The magic of The Nutcracker will linger long after it leaves the Bristol Hippodrome.

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