As a long time Londoner, Nutcracker fatigue was a real thing. We marvel at the Royal Ballet’s resplendent production, moan about how English National Ballet’s needs an update and there’s usually a modern take from the likes of Matthew Bourne or Drew McOnie to enjoy too. It’s wonderful but exhausting and I thought this was normal for a big European capital however, it turns out we’ve been spoiled. Things are a little different on the mainland of the continent.
The vast majority of European cities are supplemented by touring companies, who almost continually spend two or three nights at a theatre before moving on, where costs are kept low and the dancers need to be versatile. Enter Stara Zagora (State Ballet of Bulgaria) who can be seen in many medium sized German towns now until February performing the festive classic, Der Nussknacker.
For families wanting a traditional Christmas visit to the theatre there is nothing to grumble at here. The company comes complete with their own orchestra too (State Orchestra of Bulgaria) and Tchaikovsky’s score is reassuringly familiar wherever it might be.
All the key elements are present; a wholesome German family attend a party and magic ensues courtesy of Drosselmeyer (Ivaylo Yanev), some spritely mice and a Nutcracker doll. The choreography is simple (Konstantin Uralsky) although occasionally the stage feels a little still in the crowd scenes, and children of the party tell a joyful story with our Clara (named Marie in this production), Carmen Demirtash, doing a particularly good job of leading the group. The party children, incidentally, are all played by adult dancers. They have shiny pointe shoes and are neat and compact in floaty nighties. It’s all going quite well.
The wigs and costumes however, let down the production into something that feels tangibly lower quality. Drosselmeyer’s white-grey wig is distractingly obvious and the shaggy haired creations for the children are unnecessary. Later, the twelve Snowflakes wear simple white and blue dresses but unfathomably some headpieces that are more tinfoil than twinkle. We best not speak of the mice…
The set is more successful, colourful and fantastical with snowy winter scenes and a Christmas tree that although created with fabric, does grow impressively at the key moment of Drosselmeyer’s magic.
What of Marie and her Nutcracker (Filippo Sartorelli) though? Freed from the mime-loaded party scene, the technical flaws are clearer to see. Demirtash has very long limbs and nice extensions but struggles to control them in the lifts and landings and she hits some awkward lines. Sartorelli is a solid partner and brings charm to the story but is a little short to partner Demirtash as effortlessly as desired.
Act II continues in a similar vein, until Aneliya Dimitrova and Fiordi Lloha save the day as the Sugar Plum Fairy and her Prince. The gulf in ability between this pair and the rest of the company is clear to see, Uralsky’s choreography does not deviate from that traditionally seen in the pas de deux and they deliver elegantly, if not excitingly. Dimitrova offers the kind of delicacy seen nowhere else in the evening, showing a beautiful, high développé, while Lloha nails the pirouettes in his solo without any strain. It’s the costumes again which let the occasion down. Dimitrova’s tutu is thin in the bodice with some gold embellishment and the skirt is high and rigid and flops around unflatteringly, ruining the aesthetic of the lifts and poses in a number of the big moments.
As things reach their inevitable conclusion and Marie wakes from her dream, the full capacity German audience goes wild for what they have seen, there’s even a standing ovation. A quick scan online will show you no other Nutcrackers are being performed this side of Germany making this a premium experience for so many and Stara Zagora are doing an admirable job with what they have.
