Introducing Tchaikovsky the merry scamp
Some years ago, following a Christmas performance of Tchaikovsky’s Nutcracker, I sat in one of the dives near the theatre with a member of the corps de ballet, the gay son of close friends. The audience had been populated largely by children and teenagers, most of whom were either smitten by the intrepid, empathetic Clara or wanted to be her. Yet the mood perceptibly shifted when, at the end of Act I, the life-sized nutcracker doll transformed into a most handsome prince, all grace and gluts. ‘Do you think in that moment,’ I asked my dancer friend, ‘that a smattering of adolescent boys, out on a family treat, notice their
