The Nutcracker review: Enough to conjure childlike wonder in the gloomiest grown-ups

Like the best Nutcrackers, the English National Ballet’s staging, first shown by the company in 2010, can conjure childlike wonder in even dyed-in-the-wool cynics.

All the traditional elements of the story are there — dancing snowflakes, a twinkling tree, plus an evil Mouse King — alongside details straight from choreographer Wayne Eagling’s imagination: conga-ing ice skaters, a mousetrap catapult, even a hot-air balloon ride.

It’s danced with confidence, not to mention love, by this young and breezy troupe, but, in spite of their efforts, the storytelling often gets bogged down by its ambition, with some confusing tweaks made to the plot. During a mouse-filled nightmare, young Clara (Sophie Carter) morphs into an older version of herself (Erina Takahashi); later she becomes the Sugar Plum Fairy.

The Mouse King isn’t defeated in Act I, as usual, but keeps popping up, again and again, pursuing Clara through the Land of Snow.

In one bewildering segment, the Nutcracker and Drosselmeyer’s Nephew switch places, only for the Nephew to turn into the Fairy’s Prince. To top it all, Clara’s sister Louise suddenly appears for a stint as a butterfly. Got that? Me neither. Luckily, there’s those dancers.

Francesco Gabriele Frola is a poised Prince and thoughtful partner to Takahashi, who is capable of knocking out fouetté after fouetté with nonchalant ease. James Streeter is a charismatic Drosselmeyer, Daniel Kraus a sinister piratical Mouse King. The big set pieces — namely the Flower and Snowflake waltzes — are well-drilled, led by an assured Isabelle Brouwers and rising star Precious Adams. On the whole, though, this is a Nutcracker to banish the December gloom.

Until 5 January, London Coliseum (020 7845 9300; londoncoliseum.org)