While some directors struggle to find new meaning and hidden depths in Tchaikovsky's simple fantasy, Nixon has gone for a refreshingly traditional approach that still manages to breathe new life into an old favourite.
The biggest change, apart from re-locating the story to Regency era England and the addition of some deft comic touches and visual treats, is that Darren Goldsmith's mysterious magician/uncle Drosselmeyer here becomes a much more central and avuncular presence, accompanying young heroine Clara – a wonderfully childlike Pippa Moore – on her magical journey.
There's plenty of magic in the first act transformation from drawing room to dreamscape, thanks to Charles Cusick Smith's deceptively simple but effective design and the excitement of Nixon's approach to battling mice and toy soldiers.
The second act divertissements are allowed to speak for themselves, providing a great opportunity for this always outstanding young company to remind us of something we can too easily forget – that they can perform classical dance equally as well as their more usual dance theatre.
With fine work from Christopher Hinton-Lewis's Nutcracker Prince and Keiko Amemori and Hironao Takahashi as the Sugar Plum Fairy and her Cavalier, there are many moments of exceptional beauty and style, all marvellously gift-wrapped in Christopher Giles' elegant costumes and accompanied by the Northern Ballet Orchestra at their best.
The only problem, in fact, is that Nixon can't arrange for a light snowfall as we leave the theatre!