Tchaikovsky’s The Nutcracker has been danced, re-danced, reinvented and fiercely protected since its 1892 premiere at the Imperial Mariinsky Theatre. Australian audiences have seen everything from the grand, gilded Russian interpretations to streamlined contemporary versions.
BIG Live, an emerging company, takes the classicist route. Clean lines. Faithful storytelling. Plush Victorian nostalgia. With a work this iconic, a young company doesn’t have the licence to deconstruct it. They don’t try to. The result is a warm Nutcracker with flashes of youthful charm and room to grow.
The production opens with a lively Act I. The party scene is often where energy drifts, but here it moves well. Children fling teddy bears. Fritz throws tantrums. Parents bustle with real purpose. It feels lived-in.
William Cheung makes Fritz cheeky without tipping into caricature. As Clara, Mia Zanardo brings sweetness and grace. She is more of a spectator than an active protagonist, but this fits the traditional Mariinsky mould where Clara mainly witnesses the unfolding magic.
Charles Herkes plays Drosselmeyer. He is young, handsome, and carries himself almost like a prince, not the older character actor we usually see. His cloak of black and gold gives him mystery, but the performance is warm rather than eerie. It softens the darker edges of Act I and will work well for younger audiences.
The tree transformation is the moment that usually divides productions. Here, the tree grows upward by roughly a third. The transition from home to forest is smooth, with clean stagecraft and no awkward pauses. It works, but it doesn’t shift the atmosphere the way lighting or projection could have.
The battle scene is tight and clear. You always know who is fighting whom. The mice costumes steal the sequence. One mouse even whacks a soldier with its tail, which earned a laugh. Ethan Mirmacovski makes a strong Nutcracker, and his surprise entrance from behind a line of dancers works well.
The snow scene is traditionally the first major artistic test. BIG Live delivers a shimmering, if not transcendent, version. Blue lighting casts a cold glow. The snow effect is lovely, while the surrounding set pieces are static and could be more vivid.
The Snowflakes, led by dancers such as Rose Maloney, Summer Duyvestyn, Bella Collishaw, Maria Zagidullina and Abbey Hansen, dance with good musicality and cohesion.
Act II brings colour, structure and more confidence. The set resembles a palace rather than a mythical land, but it is clean and elegant. Some costumes could be fitted better for strong silhouettes, but movement quality is sound.
The Spanish and Russian/Trepak variations get the crowd’s energy up. Timur Dymchikov tears into both with commitment and crisp choreography.
The Chinese variation is gentler than many traditional versions. The dancers bow frequently and hold prayer-like poses. It avoids most dated stereotypes, and one of the performers is Chinese, which gives the moment grounding rather than pastiche.
The Arabian variation, danced by Charles Herkes and Giselle Osborne, is one of the night’s standouts. Herkes dances bare-chested, and the audience definitely noticed. His partner moves with serpentine control. The duet is sensual without tipping into parody. A genuine highlight.
The role that must land is the Sugar Plum Fairy, danced by Abbey Hansen. She is excellent. Clean technique. Controlled balances. Soft arms. Confident turns. She carries the Grand Pas with ease, and her connection with the Prince, danced by Ervin Zagidullin, has a Disney-couple glow. Their partnering is secure, and transitions are smooth.
Tchaikovsky’s music loses warmth and depth without a live orchestra. Layers flatten. Accents blend. For a production of this scale, however, a recorded score is understandable.
Ballet, like opera, is one of the most demanding and resource-intensive art forms, and for many young dancers, the career pathway can be brutally narrow. BIG Live is creating something rare and urgently needed: a new route forward, with more opportunities for artists to develop and be seen. That is a contribution worth celebrating. For a company at this stage of its journey, that’s more than enough.
The Nutcracker is presented by BIG Live and runs in Adelaide until 28 November at Her Majesty’s Theatre as part of a national tour. 58 Grote Street Adelaide SA 5000.
See tour dates below.
Tickets: https://www.adelaidefestivalcentre.com.au/whats-on/the-nutcracker-2025
Website: https://www.bigliveco.com/the-nutcracker
Socials: https://www.instagram.com/balletinternationalgala/
Hero image photo credit: Braeden O’Connor
The Nutcracker 2026 Remaining Tour Dates:
Sydney 29 November – 3 December, 26 – 28 December, State Theatre Tickets
Singapore 16 – 20 December, Esplanade Theatre Tickets
Melbourne 11 – 23 December, 29 – 31 December, Princess Theatre Tickets
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One response to “Review: BIG Live’s The Nutcracker Shines With Seasonal Charm”
Loved the Nutcracker in Adelaide ..excellent artistry and casting. The pas de deluxe with the Sugar Plum fairy was simply beautiful, but the long awaited solo while soft and pretty lacked complexity often seen and seemed rather short. Was there a reason 🤔