Two for the holiday season

The Nutcracker, Jose Mateo Ballet Theatre, Strand Theatre, 543 Columbia Road, Boston, through December 22. 617-635-1403

Jose Mateo Ballet Theatre is celebrating the 36th anniversary season of its original 1988 version of "The Nutcracker" at the intimate Strand Theatre in a production both charming and exuberant. In the JMBT playbill, Mateo describes the Tchaikovsky-scored narrative as "a simple children's fantasy," and his artful choreography takes its cue from young heroine Clara and her dream. Ultimately, that dream dances out in an enchanting staging that should please children and adults alike.

Clara's fantasy opens with an elegant ensemble of dream fairies (with casts varying by performance) who deliver a mysterious gift. Soon Dr. Drosselmeyer—played with style and grace by Jason Jordan—prepares mechanical dolls Columbine and Harlequin, respectively danced with strong capering by Elizabeth Rookey and James Velasco at the magician's workshop and the Silverhaus holiday party. Velasco later convinces with majesty and fine form as the Nutcracker Prince—who the talented Drosselmeyer believes to be his grandnephew prince (transformed by an evil sorcerer). Jordan properly thrills Nia Dunlap—who dances with impressive technique and warmth as Clara (at Sunday's matinee) as he brings the Nutcracker Prince to life.

Mateo's sharp choreography sustains the magic and warmth throughout the following lively battle between soldiers and mice, the snow-adorned forest and the diverse divertissements of the Kingdom of the Sweets. While all the ensembles—including the Snowflakes, the young Mice and Polichinelles and especially the Flowers of the waltz—are very satisfying, there are several standout soloists and pairs. Ryan Prinz makes a tenacious Mouse Prince. Deanna Pearson and Yevgeny Khissamutdinov bring royal bearing to Snow Queen and Snow King (casting varies). Here, too, Mikaela Guidice and Brandon Silverman capture all of the sensuality of Coffee/Arabian, and Janelle Gilchrist makes a lyrical Dew Drop Fairy. Kylie Brown (who once trained at American Ballet Theatre) as Sugar Plum Fairy and Da'Von Doane ( a former principal with Dance Theatre of Harlem)as Cavalier bring exquisite turns and configurations to the Divertissement —culminating Grand Pas de Deux.

The company playbill invites audiences to "rediscover the magic" of "The Nutcracker." Mateo and his talented dancers make that magic as fresh and dreamy as ever.

The Lion in Winter, Theater Uncorked, Plaza Theatre, Boston Center for the Arts, through December 15. 617-933-8600

Call "The Lion in Winter" a battle royal with both fire and feeling. A virtual chess game on a historical scale, James Goldman's very intense 1966 play includes references to 'pawn' and 'next move.' Quite simply, King Henry II of England and Queen Eleanor of Aquitaine revel in ferocious gamesmanship at one moment and tenderly appeal to each other at another. If they sound and act like George and Martha in the visceral 1962 powerhouse "Who's Afraid of Virginia Woolf?" it may be no coincidence. Perhaps Goldman was somewhat inspired by Edward Albee's blistering banter. Very clear at the Boston Center for the Arts' Plaza Theatre revival of "The Lion in Winter," though, is that a brilliant Theater Uncorked septet has turned this rarely staged drama into a must-see exploration of family dysfunction and the complex motivations of parents, children and lovers.

Historical purists may quibble about the fact that Henry II had no Christmas Court in 1183 at the play's Chinon Anjou, Angevin Empire setting and that the dialogue is fictional. Yet that is the point. Goldman's drama is powerfully imagining the verbal volleys that must have passed between Henry and Eleanor as well as the conflicting agendas of volatile R]ichard, scheming Geoffrey and boyish John. At the same time, King Philip of France takes on Henry, whose young emotionally rich mistress Alais—Philip's half-sister—faces off Eleanor.

Director Allison Olivia Choat smartly balances the fiery scenes and the softer ones. Still, her savvy cast members never let up on the intensity of Goldman's imaginative dialogue. Anthony Mullin's feisty Henry II has all of the ferocity of a human king of beast with his family, and Sehnaz Dirik's strong-willed Eleanor has both the strength of a lioness and the tenderness of a wife released from prison, battling for personal freedom and looking for understanding. Micah Livesay finds Alais' self-empowerment and her profound insecurity. Matthew Zahnzinger as Philip is a scene-stealer in his outburst of confrontation with Henry.

Thain Emrys Bertin's Richard has moments of pathos with Dirik's conflicted Eleanor and a revealing romantic moment with Zahnzinger's ambivalent Philip (one that would not surprise those historians who find evidence of Richard's homosexuality). James Honaker captures Geoffrey's intellectual coldness and alienation, while Finian Ross catches the petulance of John. Gifted costume designer Richard Itczak makes a very welcome return catching the royals' majesty, Alais' relative simplicity and the siblings' distinctive attire.

Theater Uncorked's torrid "The Lion in Winter" is quite simply a revival for all seasons.