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We send you an automated confirmation link loca you'll need to click to confirm, before you can enjoy all the benefits to becoming a free member. The west's first complete Nutcracker was staged in London by the Vic-Wells ballet inbased on choreographic notation smuggled out of Russia. The first US version was inwith George Balanchine's standard version produced in By the s, separate productions were touring the US. Financially - and musically - the Nutcracker has proved a durable winner, but theatrically it is a surprising mess. One reason there are so many different versions is that producers have never given up trying to sort out the ballet's muddles. Not only is there no sustained psychological or theatrical momentum, but the work is almost two separate ballets.
The original libretto was based on a sanitised version of Hoffmann by Dumas the Elder but, even so, it encountered serious problems of tone and structure in trying to simplify the story for the ballet stage. While these worried Tchaikovsky from the outset, choreographer Lev Ivanov failed to resolve them, with the result that he not only failed to give the story much emotional resonance, he also created a peculiarly dysfunctional ballet. Its leading characters hardly dance at all, while its principal dancers barely act. Virtually all of the story is acted out in the first half, leaving the second act to run as a near unbroken series of dance divertissements.
Subsequent efforts by choreographers and producers to create a more coherent narrative have, however, proved entertainingly variable. Rudolf Nureyev's fashionably Freudian production of had little Clara wandering down the stairs at midnight to find her family and friends turned into nightmarish rats and bats, and father-figure Drosselmeyer transforming into the handsome prince both roles, incidentally, were danced by Nureyev himself, who never chose to be anything less than centrestage in his own productions. The more heavyweight inspiration for Peter Schaufuss's staging for English National Ballet came from research detailing the biographical associations of Tchaikovsky's score.
The Nutcracker thus became not Clara's dream but Tchaikovsky's, with all of the other characters linked to specific people in the composer's life. By total contrast, Derek Deane's version for English National Ballet updated it to a grimly contemporary family with parents in the throes of divorce. The father's mistress turns up in the middle of a party, with guests chattering drearily on mobile phones. Productions like these have striven to give a more adult rating to the ballet, as well as beef up its dramatic logic. But, because they've remained within the traditional boundaries of choreography and plot, they've been in conflict with the intractably sweeter elements of the work.
Those that have defiantly re-choreographed and re-dramatised from scratch have produced far more coherent versions - even though they've had to sacrifice some of the ballet's festive glitter. In Mark Morris's wonderfully brash The Hard Nutthe ballet's first act was peopled by a suburban family from hell, complete with fake Christmas tree, bad hairdos, and a drunken disco.
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In the string of second act divertissements, the Arabian UUk was recast as a Uk local sluts for oil sheiks. Matthew Bourne's version for Adventures in Motion Pictures to be revived next year also plucked little Clara out of her customary bourgeois comfort and, in this case, put her into a grisly Dickensian orphanage run by a Mr and Mrs Dross. Her heart is broken by a ruthless slut called Sugar seducing the hunky Nutcracker prince. Smart, savage and entertaining as these rewrites can be, they will never be more than a witty thorn in the Nutcracker's side.