On Christmas Eve in the Stahlbaum’s drawing room, a party is underway. The music is light-hearted, and the dancing of their guests is equally light but also stately. Children join in. Their steps are formal and precise, but their broad grins reveal the fun they are having. Then the magician, Drosselmeyer, arrives and change is afoot.

The toys begin to dance, decorum is replaced by high jinks and magic, and Drosselmeyer gives the Stahlbaum’s young daughter, Clara, the gift of a Nutcracker doll. The magician and his gift will determine what is to follow. As Clara comes softly downstairs later that night to pick up her beloved doll, the toys start to dance once more. This time, large rats scuttle across the stage, and there is a feeling of menace in the air.

And so the scene is set for the fantastical world which Drosselmeyer shows Clara, full of magical experiences but also one where evil, in the shape of giant rats led by the Rat King himself, lurks. A story of Clara’s transition from childhood to adulthood, it all ends well when, after much adventure, she finds herself safely back in her parents’ drawing room.

The ballet is full of set pieces which show the fluidity and gracefulness of Birmingham Royal Ballet’s principals and artists to their full. To highlight just a few: Act I’s battle between the toy soldiers, now life-size and led on by the Nutcracker-turned-soldier, and the giant rats led by the Rat King, has a charming child-like quality about it. Clara saves the day by hitting the Rat King with her shoe and, just as in a child’s fantasy, the Nutcracker turns into a handsome prince as she revives him.

The dances of Act II each have their own character and are a joy to watch. The Spanish Dance is full of elegance and athleticism, its blood-red and black costumes truly striking. The Arabian Dance, costumed in soft blues and greys, is sensuous and expressive. The Chinese Dance is playful, and the Russian Dance is bold and exuberant.

The Waltz of the Flowers with the Rose Fairy is full of grace and poise. And the highlight of the evening, the grand pas de deux of the Sugar Plum Fairy and the Prince, is beautifully performed. Here, in keeping with Tchaikovsky’s music, the performance is at its most dramatic, but also at its most tender.

The staging of the production is equally stunning. Clara’s entrance in Act II, flying across the stage on a huge white goose, is captivating. The transition of the set into a forest glade as the Stahlbaum’s Christmas Tree grows taller, and frost-covered branches appear, is a triumph of stagecraft.

The choreography is masterful, from the effect of driven snow as the Snow Fairy and Snowflakes dance, to Clara’s appearance from backstage on pointe, with the most subtle of lighting effects, showing her youthful innocence, as well as her hopes and dreams.

Sir Peter Wright’s The Nutcracker, performed by the Birmingham Royal Ballet, is captivating from beginning to end. It’s a Christmas winner for all ages.

On press night, the Sugar Plum Fairy was danced by Miki Mizutani and the Prince was danced by Max Maslen. Reina Fuchigami danced in the role of Clara and Lachlan Monaghan in the role of Drosselmeyer. The Snow Fairy was danced by Yuki Sugiura, and the Rose Fairy by Beatrice Parma.

Children were from the Elmhurst Ballet School and the Royal Ballet School.

Tchaikovsky’s music was performed by the Royal Ballet Sinfonia, conducted by Jean-Claude Picard.

Choreography was by Peter Wright, Lev Ivanov and Vincent Redmon. The production was by Peter Wright. Designs were by John Macfarlane and lighting was by David Finn.

The Nutcracker is at the Birmingham Hippodrome until 13th December. For further information: see birminghamhippodrome.com.