Ballet in Bloom: The Nutcracker in Hong Kong

Last Christmas, unable to return home to the UK, the festive atmosphere felt oddly subdued.

Twinkling lights, cheerful decorations, and the smooth voice of Michael Buble playing through my AirPods, I had gathered all of the components of a ‘festive’ Christmas. However, a small wish that I wasn’t able to fulfil was experiencing a live performance of The Nutcracker, stemming from my unhealthy obsession with Barbie movies growing up. (If you know, you know!)

As December 2024 rolled in, I was determined to make it happen.

I have to admit, by my own incompetence and talent for dilly-dallying, we almost missed the performance. If it weren't for a credible imitation of Usain Bolt, ploughing through the hundreds of tourists lining TST streets, there would have been no Nutcracker for us!

The Nutcracker is an easily accessible ballet with a shorter run time than those of Giselle and Swan Lake, resulting in it being many audience members' first experience with the ballet. The creative team seemed aware of this and the artistic director Septime Webre, warmly welcomed the audience, informing them on how to respectfully interact with the dancers and show appreciation towards the artists. Clapping was encouraged in this performance, and for a female dancer, Brava was preferred, whereas, for a male danseur, the term was Bravo!

Held at the Hong Kong Cultural Centre’s Grand Theatre, this version of the Nutcracker invited us to believe in magic and possibility through Hong Kong's culture and natural beauty.

Act 1 begins on Christmas Eve, with Clara's mischievous brother Fritz causing a ruckus as the family prepares for the holiday celebration. The party takes place in a mansion inspired by Kom Tong Hall, a stately home built in 1914 by Ho Kum Tong, Sir Robert Ho Tung's younger brother, located on Castle Road in Mid-Levels.

To build up the grandeur of the soiree, the creative team collaborated with the Hong Kong Museum of Art to feature 21 paintings from their permanent collection, enhancing the ballroom's elegant white and gold decor. The scene was populated with characters that reflect Hong Kong’s social fabric, including notable figures like Dr. Sun Yat-sen, who visited the city multiple times after the 1911 revolution, and Sir Robert Ho Tung, an influential figure in local life.

A Shanghainese silent movie star, loosely based on actress Lily Yuen, adds a touch of glamour, alongside fictional relatives like Clara's aunties and her Yeye (grandfather). They were also joined by Clara’s eccentric uncle, an inventor living in the old Kowloon-Canton Railway Clock Tower in Tsim Sha Tsui. This all took place while guests engaged in Mahjong, grounding the story in contemporary local culture.

My favourite Act 1 stylistic choice was to base the character of the Rat King on legendary Hong Kong junk boat pirate Cheung Po Tsai. He arrives with his menacing rat pack aboard a red-sailed junk boat modelled on The Dukling, the oldest running Chinese junk boat that still graces the harbour waters.

With all the changes in Act 1, I was curious to see how easily the fantasy world of Act 2 could adapt to a Hong Kong setting.

The act begins with a stunning bamboo forest that gradually transforms into a vibrant spring garden, decorated with Bauhinia flowers in full bloom. This journey through the seasons was beautifully captured by the dancers.

The Sugar Plum Fairy, whose tutu, in my personal opinion, should have been much sparklier, was simply stunning. She was accompanied by her cavalier and attendants, who took the form of butterflies, dragonflies, mushrooms, bumblebees, a rabbit, and even a wild boar.

Notable characters in Act 2 included the majestic muster of peacocks strutting elegantly, dancing lions bursting onto the scene, and a lively depiction of the Cheung Chau Bun Festival. A team of jockeys raced by, while Hong Kong cockatoos cavorted playfully with a white tiger. Mother Ginger was reimagined as Mother Dim Sum, leading her Dim Sum Clowns in a delicious dance that brought a taste of local culture to the stage.

The striking Bauhinia flowers, led by the Dew Drop Fairy, came to life in a graceful waltz, adding to the overall magic of the performance. The climax of the act featured the Sugar Plum Fairy and her cavalier performing a grand pas de deux, an elaborate dance for two that showcases both partnership and individual artistry.

The live music for the performance was provided by the Hong Kong Sinfonietta, a group that has garnered considerable acclaim both locally and internationally. Their participation was a fantastic choice, helping to infuse The Nutcracker with a distinct Hong Kong flavour while maintaining Tchaikovsky's classic melodies. It was fascinating to hear the familiar tunes reimagined in a setting rich with local influences. The orchestra was nothing short of enchanting, and at times, I found myself so absorbed that I almost forgot they were playing live.

I don't know where I'll be next Christmas, but I do know that I'll be seeking out the magic of live performances, wherever they may take me.