My review of The Nutcracker was published online by CBR CityNews on 14 November 2026, following its opening performance in Canberra on 13 November. The review below is a slightly enlarged version of the CityNews post. Follow this link to the CityNews review.
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13 November, 2026. Canberra Theatre
The Nutcracker in a full-length version is an end of year theatre favourite for young and old and has been on the dance calendar in Australia since at least the 1950s. The first full-length production in Australia was staged by David Lichine for the Borovansky Ballet in 1955 and, from then on, it was enjoyed as an annual Christmas event by the Borovansky company until the company’s demise.*
While there have been a number of productions in Australia since then, each with a slightly different take on the narrative, the basic storyline begins with a Christmas party held by the Stahlbaum family; the gift of a toy nutcracker to Clara, the Stahlbaum daughter, by her godfather, Herr Drosselmeyer; and a dream-like follow-up in which Clara and the nutcracker (turned Prince) fight off a bevy of mice. They then travel though a snowy landscape to the Kingdom of Sweets where they are entertained by dancers representing a variety a sweets and other foods. As the work closes, we are returned to the Stahlbaum house where Clara has fallen asleep with her nutcracker beside her.
The final moment from The Nutcracker. Victorian State Ballet, 2026. Photographer not identified
The production by Victorian State Ballet was choreographed, with the exception of one or two moments that maintained traditional choreography, by co-director of the company, Michelle Cassar de Sierra. There were a few problematic technical incidents that occurred at the end of some of the more difficult choreographic moments, and a few design elements that for me were a little over-developed. I was a bit taken aback, for example, by the backcloth for Act II, which was so over-filled with lolly-pop style images that it was hard to make out Clara and her Nutcracker Prince who were sitting upstage in front of this backcloth. But overall this production was beautifully presented. Works from Victorian State Ballet always engage the audience from beginning to end and this Nutcracker was no exception. The two hours of performance just sped along.
The work began with visitors making their way to the party in the Stahlbaum house. Nothing terribly new here except that the visitors arrived via the auditorium instead of from off-stage. And so began the inclusive feeling to the production.
Particular choreographic highlights included the way the mice looked non-human as they jumbled around during their contact with Clara and the Nutcracker Prince before being fought off; and the snowflake scene with its approach to group movement that seemed carefully arranged but also diverse enough to remind us that snowflakes fall randomly.
In terms of particular performers, a relatively new member of the company, Emily Ditchburn, stood out as Drosselmeyer’s assistant and then as the Snow Queen. The fluidity of her movements and the impressive way she held her upper body was exceptional. Then Hannah Leong attracted my attention in the Spanish Chocolate Dance in Act II for the way in which she approached the choreography and made it shine.
Given that Victorian State Ballet is a relatively small company it was interesting to see dancers take on several roles in the overall production. Fritz, brother to Clara, was played by Xander Vandenberg during the family party in a decidedly annoying manner (as befits the role). Then he turned up in Act II in the Arabian Coffee Dance and then in Waltz of the Flowers as a purely classical dancer. But every dancer in the company deserves credit for the way in which they embraced their roles.
On the way out of the theatre, I was walking behind a very young girl wearing a pink tulle dress— she was probably just four or five years old. She danced her way from the theatre to a car park, including down the steps that lead to and from the theatre building. This Nutcracker impressed pretty much everyone from young to old.
Michelle Potter, 15 November 2026
*Prior to Lichine’s full-length production, Australian audiences had seen Act II, as Aurora’s Wedding in various occasions by different companies, and often the Act II pas de deux as a single work. Various website posts identify the Australian Ballet’s 1963 full-length production as the first in Australia. This is incorrect and ignores the extensive seasons by the Borovansky Ballet.
Featured image: Janae Kerr as the Sugar Plum Fairy.with Daniel Sierra as the Sugar Plum Cavalier. Victorian State Ballet, 2026. Photographer not identified
