To create a seamless, whole Nutcracker, Peter Wright and John Macfarlane have married the ballet's greatly varied styles, scenes and tones, with their own greatly varied décors, colours and styles while melding reality with fantasy. Not fantasy in the sense it's often used these days to describe something frivolous and unreal, but the act of creating a subworld (to refer to Tolkien's On Fairy Stories) full of wonder, inspiring curiosity with a self-propagating energy and its own internal logic or rules which allows more than the mere prosaic "suspension of disbelief," but draws us in, absorbs us, allowing us to keep our belief and private imagination intact as we participate. And it leaves a piece of itself with us for a long time afterward. Their ballet is naturalistic too, certainly organic, as if it grows and comes alive, the décors and costumes showing a deep observation and understanding of nature, often recalling Robert Herrick's poem Delight in Disorder. Each scene changes naturally and smoothly with the music, lightly carrying and passing on the momentum of wonder however great the change in tone. Recognizable historic and stylistic fragments — subtle but familiar images or patterns — thread through the piece. They deftly weave many other threads through the whole ballet to connect discrete dances and divertissments and make them seem all of a piece. Fore example, Clara dances in almost every scene, adapting to and relishing the different styles of the Spanish, Chinese, Flower Fairy etc. dances while retaining her character's personality.