After the triumph of Sleeping Beauty, the director of the Imperial Theatres, Ivan Aleksandrovich Vsevolozhskiy, invited Tchaikovsky to compose a double-bill consisting of a one-act opera and a two-act ballet.

Interest in the ballet was created by the concert suite that the composer himself arranged from the ballet score and which was performed some nine months before the stage production. Why this happened remains a mystery, unless Tchaikovsky was afraid other composers might find out about his ‘secret instrument’ which he had specially brought from Paris: the tinkling celesta, its bell-like sound forever to be associated with the Sugar Plum Fairy.Providing the malevolent edge this year is Neil Jennings, who’s professional career has included The Gruffalo alongside Shakespeare classics. His delicious take on the Mouse King will be one to be savoured.

The full ballet was unknown in the West until a production was staged at Sadler’s Wells Theatre, London, on 30th January 1934, with Alicia Markova and Stanley Judson (followed in 1937 by Margot Fonteyn and Robert Helpmann). Since 1944 it has become a universal favourite, especially at Christmas time.

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The spirit of Tchaikovsky once again came alive at the Hippodrome on Friday night as hundreds turned out to watch Birmingham Royal Ballet's sparkling rendition of the classic show. Drosselmeyer is based on the character of the same name from the original story by E. T. A. Hoffmann and the ballet by Pyotr Ilyich Tchaikovsky.

The dynamic duo will victoriously fight the evil Mouse Queen and her minions to then journey through the Land of Sweets encountering characters from a myriad of countries including the novel, patriotic American! You won’t want to miss this incredible show and fundraiser. But it was the performance accompanying Tchaikovsky's "Waltz of the Flowers" in Act II that received the biggest applause of the night, as dancers donned in beautiful pink, sparkling dresses drifted across the stage in total unison – not a step out of place. The Snow Fairy leapt onto the stage of the Birmingham HippodromeA notable mention has to be given here to Beatrice Parma, whose performance as Clara was captivating, an opinion I think was also shared by the man sitting next to me who uttered a "wow" under his breath after her dance with the prince. As the orchestra started to play, the curtain still down, silence fell upon the busy theatre, the audience shuffling in their seats in anticipation of what was to come.

Initially Tchaikovsky was not attracted to the story but he became more reconciled to it as he progressed. Eventually, he preferred it to his opera Yolanta. Safe Haven Ballet is a 501 (c)(3) non-profit that exists to serve the community with free trauma-sensitive ballet, art and movement classes for survivors of sexual assault and trauma. Scott Ramsay, Director of the theatre, said “This will be our third in-house Christmas show produced in Portsmouth and already word has spread on the quality and difference of our work. Actors are turning down work with big companies elsewhere to be part of the magic we’re creating here, and that’s wonderful.” The show features children who are part of the Anaheim Ballet School, seasonal dancers with the ballet company and even an 81-year-old who for years has played the grandfather in the party scene. The company is the resident ballet of Anaheim and it offers outreach programs in the community, including Step Up!, an after-school community program that teaches dance but also lessons for life, Rosenberg said, adding the company’s slogan is “Anaheim Ballet, more than dance.”

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Along with their dance instruction, the performers also get training from a Hollywood actor, which helps flesh out their presence on stage, Rosenberg said. Natalie Turner joins the cast as Mrs Stahlbaum, and Sarah-Faith Brown brings a sparkle of magic as the Sugar Plum Fairy, all having starred in Christmas shows and musicals across the UK. It is not confirmed, but it is implied that he had an owl, who travelled to the Four Realms to take care of Clara. But students wanted to dance the classic and after much research into the original Tchaikovsky story, Rosenberg said she designed a version of the production that speaks to the intent of the composer and offers much more depth for many of the characters. Hoffman’s original work showed the dark side of human nature and was definitely not appropriate for children.