Two weeks ago the doom vultures circling above the Opera House were confidently predicting that the temperamental new stage machinery would scupper the opening production of Falstaff. Within the Royal Ballet there were just as many jitters over the mechanical operation of the newly revived Nutcracker. Would the magic Christmas tree grow to giant proportions on cue? Would the yuletide angel's sleigh glide smoothly over the snow?
Well, as it turned out, no. On Friday's opening night, the sleigh got stuck, despite some surreptitious kicking from a hot-looking angel at its helm, and Tchaikovsky's magisterial climax failed to persuade the tree to budge. Grow it finally did, but five minutes later, when the battle between the mice and toy soldiers was so thickly engaged hardly anyone noticed. When the backstage gremlins pushed over a cardboard tree and mischievously trapped a piece of drapery, it is not surprising that the cast showed signs of strain.
Yet despite its glitches, Peter Wright's production somehow managed to be a success. By fusing the most sweetly traditional features of his previous staging for the Royal with elements from his sparkier version for BRB, Wright has created a Nutcracker of beguiling drama and glamour.
Key to its success is the enhanced role of Drosselmeyer, the controlling magical force of the plot. As performed by Anthony Dowell, this character is a mix of testy old relative, stylish shaman and bereaved uncle. He is brilliant enough to bedazzle Clara and her family, yet has a sinister edge that cues us back to the darkness of Hoffmann's original tale. Dowell, flourishing his fabulous conjuror's cloak, calls on his immense personal charisma to dominate the stage (as well as expertly improvising a dramatic solution to the stubbornly unmoving tree).
Also important to the production is Wright's presentation of Clara and her nutcracker prince as teenagers, falling in love within this sor cerer's dream. This means the couple have a more coherent relationship, and they get much more dancing to do.
Admittedly, the roles prove demanding for their inexperienced performers. Marta Barahona as Clara may be young and very charming, but she doesn't quite have the stamina required, while Jonathan Howells' fresh and handsome appeal does not conceal the fact that his partnering skills aren't adequate for the couple's extended pas de deux.
Yet because Wright gets the tone of the ballet so right, the rawness of his young principals isn't a serious problem. The roles are created with such sympathy we find ourselves feeling benevolent too. Equally, though we notice some ragged dancing elsewhere and some over-egging of the production (excess stage business in the first act, overactive choreography in the second), these remain minor flaws in the face of a drama so well told, and choreography so elegantly staged.
Friday was also graced by the exceptionally good-looking pairing of Roberto Bolle and Darcey Bussell (as Prince and Sugar Plum Fairy), the latter's solo variation glittering with a detail finer than anything I've seen from her. The annual round of Nutcrackers tends to make Scrooges out of dance critics; this one is so good I'm seriously looking forward to seeing it again.
• Until January 10. Box office: 0171-304 -4000
