St Martin’s Theatre, London.
12 December 2025.
Children’s theatre has the unique challenge of having to be viewed and enjoyed through the eyes of a child, but also appeal to those who control the purse strings – parents, guardians, schools, and I am pleased to say that Little Bulb’s production of The Nutcracker does just that.
Typically, when you think of The Nutcracker, you think of Tchaikovsky’s classical ballet, Clara en pointe, an ensemble of rats dancing, an athletic Rat King performing allegro, and a Nutcracker that comes to life to help save the day.
Although there are no pointe shoes or a Grand Pas de Deux in sight, this show certainly captures the essence of The Nutcracker and puts its own unique spin on it, leaving the kids laughing and the adults engrossed.
Entering the auditorium 15 minutes before the show started, I was met with a pre-show performance by an actor-muso band consisting of: Clare Beresford, who plays Mouse King and Narrator; Dominic Conway, who plays Fritz; Lakeisha Lynch-Stevens, who plays Clara; Caroline Partridge, who plays Auntie Drosselmeyer and Elder Mouse; and Shamira Turner, who plays Dad and Sugar Plum Fairy.
Forming The Cheesy Five, the cast worked the audience as if performing at a sold-out rock concert, changing lyrics to well-known festive tunes such as “Jingle Bells” and “Last Christmas” to fit the fact that they are mice: “Last Christmas, I gave you my cheese.” Dressed in blue tuxedos with brown ears and long tails, the show comes full circle, with its concluding scene revealing the band’s importance and how they were formed. I’ve never heard so many types of cheese make it into a show before!
A fast-paced telling of the show, with the ballet typically sitting at two hours (sometimes two hours plus) condensed into an hour and five minutes, a notable mention has to go to the creative team who, without their designs, adaptability of set and lighting, the story would not have worked at such a speed and made sense.
Set and Scenic Art Design was by Paul and Sophie Brown; Prop Maker, Michael Douglas; Set Props and Costume Design by Sam Wilde; Lighting Designer, Joshua Pharo; and associate, Joe Hornsby. Their collaboration, under the direction of Alexander Scott and Musical Direction by cast members Clare Beresford and Dominic Conway, the cast used the set in every way possible to tell the story.
From transporting the audience from a dusty, derelict house with a stage littered with boxes marked for moving to the Rat King’s lair and beyond. Using the labelled boxes, the actors find hiding spots and tunnels, and even use elements of the set to form a car and Big Ben. Wrapping paper and bags from Auntie Drosselmeyer’s visit turn into scarves and hot air balloons, all bringing an extra texture and depth to the dialogue as the story progresses.
Auntie Drosselmeyer delivers The Nutcracker that although does not come to life through movement has illumination that brings magic to the scene as cast members shrink down to mouse size.
Children’s theatre is often a place for actors to cut their teeth and hone their craft, as they not only perform but also read the room and navigate the vivid, sometimes temperamental imagination and energy of children. This production is a true testament to the cast’s talent. Incorporating the previously mentioned onstage set movements and scene changes, along with playing instruments, puppetry, and comedy, the abridged show does not drop a story point, and scenes move at a speed that keeps the children’s attention while also appeasing adults.
Shamira, for me, used every skill in her acting toolkit. Bringing humour and parental care to the Dad, and in a flash, swapping to a colourful and vibrant Sugar Plumb Fairy who managed to walk the line between sickly sweet and abrupt. With a mention to her performance as a hissing particle of dust, primed to aggravate Fritz’s allergies, and, in true multi-role-playing form, when not in character, she was often still on stage, manning a puppet rat head.
The audience views the show from a mouse’s point of view; we are seen as hidden in the walls and ceilings, and at times, we are encouraged to use our hands to form mouse ears, making us feel like part of the family.
The Little Bulb’s Nutcracker is pantomime adjacent, with classic audience participation such as where’s the baddie “it’s behind you” and breaking the fourth wall to address the audience. Although it features a lot less adult humour than a pantomime and a lot less dancing than a traditional The Nutcracker, for those with a young family, it is definitely worth a watch.
By Jamie Body of Dance Informa.
