Christmas wouldn’t be Christmas without Baileys and this year’s advertising campaign featured the spirited Irish cream going nuts!The backdrop for its cracking yuletide theme is taken from Tchaikovsky’s Ballet ‘The Nutcracker’ extracted as a suite in 1892. Bailey’s advert, peppered with Shakespearean pathos sets up a ‘boy meets girl’ party scenario within the famous pine forest complete with flawless dance routines and enchanting musical motif from the famous digital piano celeste theme. But this clever take on ‘The Nutcracker’ has a bitter-sweet downside with the Sugar Plum Fairy wishing she’d taken note of Bailey’s Christmas strapline and spent ‘’more time with the girls’’.
Arrival At The Baileys Christmas Party
Here the Bailey’s storyline fuses Acts I and II together as we see 3 young ladies on the stroke of midnight walking through the snow-clad forest complete with hooting owls in the direction of the party. The great door to ‘Candyland’ is opened and the girls enter a room filled with guests and grandeur. The ‘Land of Sweets’ Act II is cleverly adopted here by Baileys but with the reduction of 4 lifelike dolls to a trio – but hey – whose counting!
Music Maestro Please
From the onset Tchaikovsky’s ‘Sugar Plum Fairy’ theme is heard with pizzicato strings playing a backdrop of mystery and intrigue. The digital piano overlays its crisp celeste motif with a silvery glint of Christmas magic that represents our heroine party-goer and her cronies positioned centre stage.
&Bb G Bb A / F# G FF F/ EE EEbEbEb/DGEbG Detc
The girls are served their Baileys drinks and walk forward to mingle with the crowd. The music wastes no time in doubling its tempo with the original celeste motif intact as our hero the Nutcracker turns and sees our damsel. The drama unfolds as the Sugar Plum Fairy and the Cavalier eyes meet, breathing heavily and the action begins.
Now the pizzicato strings are featured in a modern musical twist that sees them scored as an eternal ostinato that keeps the momentum whilst we are introduced to the ‘baddie’ of the brood who can be seen loitering on the balcony above. Sustained synth string voices played on the digital piano and the erratic movement of the established pizzicato off-beats add further tension that spirals with the anticipated dance of boy and girl. The celeste motif fragments as the modern ‘twist’ is transferred to their contemporary dance routine. But a shrill whistle from our bad boy halts any further romantic entanglements…
Let Battle Commence
Scene II of the ballet would see Tchaikovsky’s battle lines drawn as the gingerbread soldiers led by our heroic Cavalier and the mice led by the Mouse King strut their stuff in rivalry and defiance. Woodwind lead the scurry of events to follow with gang leaders fighting for the girl’s hand. Flutes play a flurry of high-pitched notes that clash and cluster denoting the dissonance of both music and men.
Bailey-ing Him Out
Flutter-tonguing and an energetic tempo highlight the fight scene as all seems helpless and a fait de complete seems inevitable. However it is our seemingly helpless Sugar Plum Fairy that wins the day as she suddenly pirouettes towards the baddie and lunges at him with her foot. It’s all in a day’s work for our damsel with her impromptu party piece as she settles in to the party mood with her cronies. …. And well done to Baileys for a real Christmas Nutcracker!