Drew McOnie’s nutcracker @ the tuff nutt jazz club
Say goodbye to Clara and the Nutcracker tale as you know it because the McOnie company has arrived at Dreamland…and they brought everything you never thought you needed!
Creative Team
Director & Choreographer: Drew McOnie, Composer: Cassie Kinoshi, Set & Venue Design: Soutra Gilmour, Costume Design: Ryan Dawson Laight, Lighting Design: Joshie Harriette, Sound Design: Simon Baker
Cast
Clive: Sam Salter, Sugar Plum Fairy: Patricia Zhou, Action Man: Amonik Melaco, Ensemble: Chanelle Anthony, Ensemble: Tim Hodges, Ensemble: Rachel Muldoon.
Drew McOnie is an Olivier award-winning choreographer and director as well as an associate artist at the Old Vic. His choreographic contributions have been acknowledged and celebrated, in works such as In The Heights and Jesus Christ Superstar. The McOnie company is known for its boldness, edge and bravery in pushing boundaries and breaking the mould in theatre and beyond. He has been described as one of Britain’s most versatile choreographers, with his kinesiology called ‘‘unassumingly intelligent, radiant and precise’’.
This production of the Nutcracker was no different, nor was there any doubt in its brilliance. Avoiding the wealthy Christmas setting of an upper-class household, we meet our protagonist Clive in a rather simple, yet warm and cosy living room. Locating us somewhere between the 50s and the 90s, Clive is surrounded by a small and charming Christmas tree, a vintage square TV and a pink retro landline.
McOnie explains the importance of Clive’s relationship with his father; a middle-aged, middle-class, single, working, father with a lot of bias, narrow-mindedness and boxes that need ticking. After catching Clive red-handed, dancing with the sugar plum fairy and with a face full of pure joy, his father presents him with a gift screaming for toxic masculinity, an action-man figure. Throughout the show, we explore themes of homophobia, crisis of identity and heteronormative brainwashing, as well as a sense of liberation, self-discovery and acceptance.
To have a show with such pure queer representation, whilst targetting a family audience is revolutionary. The dancers are zesty, seductive and cheeky; they manage to fuse classical technique and raw contemporary-esque attack with so much heart. Cassie Kinoshi has outdone herself as upstage, the live, in-house band offers Tchaikovsky’s score a jazz soul, elevating it to a whole new level of tuff (and nutt).
I particularly loved the addition of spoken word in the father’s Dear Santa monologue. That moment offers the opportunity to that character to redeem themselves, to not be the bad guy and to accept Clive for all the ways he pushes boundaries, unapologetically and fearlessly. I thought it was of great curiosity to get the grown-up’s point of view from a letter to Santa Claus. It shows that you can still believe in magic, regardless of age, and that frankly, parents have Christmas wishes too.
It is of emotional portrayal that Clive manages to look past the stereotypes of masculinity and femininity that appear to him. On the contrary, he manages to connect them, to discover everything in between them and allow himself to feel it all. Sam Salter as Clive presents a natural innocence, as well as a beautiful ability to love and look past labels. The way he executes the repertoire from start to finish, with the same amount of stamina and adrenaline is inspiring. Salter creates that intimacy, welcoming and drawing every audience member to his world. Patricia Zhou as the Sugar Plum Fairy is majestic, balletic excellence and theatricality all in one. Zhou’s elegance was so distinct and her exploration of the masculine towards the end of the show was very interesting and unique. Moving on to the club’s very own Action Man, Amonik Melaco, who astonishes the audience in both an armour and a tutu. Melaco’s athletic grace works so well, especially in partnership with Salter, creating the perfect duo. Ensemble member Chanelle Anthony is flirting in true sweet orange fashion and has this eye-catching stage presence about her, in anything she does. Tim Hodges is seen as both the Father and ensemble, a combination that I particularly enjoyed in his appearance as a ‘forbidden green apple’, perhaps as a reflection of his initial stance towards Clive’s interests. Hodges’ storytelling in all different dimensions is top-notch, making the unison between father and son quite special. Lastly, I wanted to give a special shoutout to associate choreographer and ensemble member, Rachel Muldoon. This was my first time witnessing Muldoon’s talent live and she possesses a true star quality. That effortlessness and interaction with the audience, going through literally every emotion you can imagine, left me in awe.
I think it’s safe to say, this is a five-star show, from its cast to its storyline. So do yourself a favour and visit the tuff nutt jazz club for a guaranteed crackin’ time at the theatre ;)
