© Jimmy Chan Hong Kong 'Nutcracker' reviews 'Nutcracker' reviews recent Hong Kong reviews more Natasha Rogai reviews Discuss this review (Open for at least 6 months) A version of this review previously appeared in the South China Morning Post.

This version has always been notable for the warmth and sparkle of Act 1, where the Christmas magic of the ballet lies. The first night felt somewhat lacklustre and the vivid acting and sense of teamwork that have distinguished the production in the past seemed muted. By the fifth night when I saw it again, things had picked up and it was a pleasure to see the cast adding new bits of business and to revisit well-loved performances like Conrad Dy-Liacco’s Grandfather and Laura Zambon’s Maid. It is the detail of these character roles that makes the production stand out. As Young Clara, Li Ming danced well but needs to work on her interpretation – she is in danger of coming over as more of a precocious brat than an innocent girl dreaming of her first love.

The Waltz of the Snowflakes whirled and swirled a bit untidily on the first night but had tightened up the next time around. As the Lead Snowflakes Kyoko Tomimura and Chantel Elizabeth Roulston both danced superbly, but their difference in height jarred on the eye. The promising young pair of Ye Fei Fei and Liu Yu-Yao were better matched, if not as strong.

Act 2 was a delight from start to finish. The gloriously sensuous Arabian Dance is always a standout - Jin Yao oozed glamour, partnered impeccably by William Lin, while Wu Fei Fei and Wei Wei gave an intriguingly darker interpretation. There was a splendidly fiery Spanish Dance from Roulston and Kenji Hidaka, making a welcome return after injury.

As Clara/The Sugarplum Fairy and her Nutcracker Prince, the first cast of Faye Leung and Zhang Yao danced magnificently, negotiating the severe technical demands of their two pas de deux with admirable ease and glittering in their solos. Their Act 1 pas de deux with its spectacular lifts was the highlight of the evening.
 

The other cast I saw featured impressive debuts in the principal roles by Roulston and Huang Zhen. Huang showed a new confidence in his stagecraft and a major improvement in his partnering skills, previously not on a par with his solo work. This performance saw him take a big step towards fulfilling his potential as a danseur noble. Roulston has always been a good dancer – excellent technique, elegant line, strong acting skills – but since her debut as Odette/Odile last August she has gone to a different level and her Clara was a beautifully assured performance.

Peter Farmer’s designs are as beautiful as ever and the HK Sinfonietta were in good form under the capable baton of Ormsby Wilkins, a rare conductor who knows how to do the music justice while remaining sensitive to the dance.

A version of this review previously appeared in the South China Morning Post.