The Nutcracker - Grigorovich
Chisinau National Ballet
February 2003, The Apollo, Oxford

"For dancers there is rather little in it, for art absolutely nothing, and for the artistic fate of our ballet, one more step downward". The rather dismal first review of the Nutcracker certainly doesn't match popular opinion on the ballet, although the abstract plot means it still has its detractors. These do not, it would seem, judging by the family-centric audience at the Apollo, include children. The ballet may have discarded much of the plot of Hoffman's tale, but what remains has proven time and time again more than ample to enchant children - and adults.

With very traditional costumes and scenery throughout most of the performance, the Chisinau National Ballet production of Grigorovich's Nutcracker hardly aims to break artistic boundaries. The distinction between reality and dream is, however, enchanting. A beautiful air of magic is sustained, with gauze draped in front of the dancers as we enter and leave the world of Marie's (Clara's) dream. The dream is all the more removed from the real world, for the mannered conformity of the guests at the house.

The set dances of the dolls were undoubtedly the highlight of the performance. Together with Marie and the Nutcracker Prince, they took on the entire second act, with the narrative element of the Sugar Plum fairy notable in its absence.

The major problem with this production was, however, the musical direction. While there was some superb playing and moments of musical magic, weak strings and an over-bearing horn section smothered the dream sequence on more than one occasion. It seems a shame too, in a ballet featuring one of the best-loved melodies written for tuned percussion, to cheat the audience with a synthesizer!

Despite these drawbacks, the Chisinau National Ballet production captivated many in the audience and will ensure that the Nutcracker remains a firm favourite.

C. Robertson