REVIEW: The Nutcracker - the Birmingham Royal Ballet at the Hippodrome Theatre, Birmingham, until Sunday, December 13, 2015.

WE’VE been led to believe of late that the Christmas season starts with some ridiculous American import known as ‘Black Friday’.

Let me tell you something. Fabulous, festive, fantasy-filled fun can only truly get going once the Birmingham Hippodrome curtain rises to reveal the majesty that is The Nutcracker.

It is then – and only then – that the magic can start to do its work and begin the business of diluting the bleakness of the midwinter that will soon be upon us.

For there is an undeniable alchemy at work here, propelled by the glorious music of Tchaikovsky, but above all made real by the incomparable dancers of Birmingham Royal Ballet, under the direction of that grand vizier of choreography, Peter Wright.

And right at the very pinnacle of this amazing Christmas tree is Momoko Hirata’s Sugar Plum Fairy, that exquisite creature who surely must be a visitor from another world, she with the feet kissed by the god Mercury.

Nevertheless, this is a production bursting at the seams with quality, a Christmas cracker exploding with gifts. And on and on they come, Samara Downs’ Snow Fairy, Celine Gittens’ Rose Fairy, Joseph Caley’s Prince role performed to perfection… they all showcase the Olympian talents of the company’s dancers.

But there’s more. For that famed transformation of the Christmas tree – in which it seems to quadruple in size before our very eyes – is now widely regarded as being the best visual trick in the business.

For that we have to thank designer John F. Macfarlane’s vision, a master stroke that reduces each and every one of us in the audience to the size of toys, mirroring those soldiers in the cardboard box.

This is truly tremendous stuff, subtly illuminated by David A. Finn’s peerless appreciation of light and shade.

And throughout, the musical narrative is supplied by the sterling musicianship in the orchestra pit, led by Robert Gibbs and under the baton of the inimitable Koen Kessels.

Karla Doorbar turns in a beautiful performance as Clara, and seems to shine ever brighter when in the company of William Bracewell. However, Jonathan Payn’s Drosselmeyer, while exhibiting all the skill of a magician, is not quite dastardly enough for me, although Jack-in-the-box has plenty of spring in his step, thanks to the boundless energy of Tzu- Chao Chou.

Now, you might be thinking that we’re full up before the arrival of the main course, but no. For we want more, yes much more… so when the grand pas de deux of Hirata and Caley arrives at an already overflowing table, our hunger is at last sated.

Regardless of how many times you see it, The Nutcracker never loses its dreamlike, ethereal beauty, perpetuating the notion that within the world of winter darkness and cold there dwells a brilliant, slumbering light just waiting to be reignited.

This incredible production runs for another couple of weeks… and without any shadow of a doubt, it should go right to the top of your Christmas present list.

John Phillpott