With a profusion of year-end performances across western nations, "The Nutcracker" is one of the sure signs of the Christmas season. This year, the holiday classic undergoes remarkable changes in the hands of Chinese choreographers.

And since Christmas is not celebrated by most Chinese, the ballet is timed to coincide with the Spring Festival for the first time in its century-long history.

Porcelain-clad ballerinas, dance of cranes, and a backdrop with glazed-tile roofs this new adaptation of "The Nutcracker" is easy to tell apart.

Set in a typical Beijing Hutong, the story starts with a western antiquary giving a young girl a nutcracker as a New Year gift when he visits a local family on the eve of the Spring Festival.

It then follows the girl Yuan Yuan's dream of a magical realm where the nutcracker and her toys spring to life, and into dance. The girl herself is even turned into a crane fairy.

Feng Ying, Director of National Ballet of China, said, "Instead of the Sugar Plum Kingdom, this Beijing girl dreams of an adventure into the Porcelain Kingdom. And her favorite items in the house such as fans, the silk drape, and even the cranes in the painting start dancing in her dreams. So this is a dream that only a Chinese girl could have."

Set to Tchaikovsky's entrancing music, the ballet "the Nutcracker" premiered in 1892 in St. Petersburg.

The fantasy-filled Children's story later spawned different versions around the world, fitting into a diversity of cultures.

While enough doses of oriental ingredients distinguish this new retelling of the western ballet, no element is more Chinese than the addition of the ancient monster called "Nian".

Zhao Ming, Director of "The Nutcracker", said, "The legendary monster 'Nian' is closely associated with the origin of the Spring Festival. The fable has it that in ancient China people celebrated every lunar year after they scaring away the ferocious beast. Even today we are still following customs that serve to protect us. So in our play, the audience can gain some knowledge about the very roots of Chinese festival traditions."

The 2010 version is an invigorating revival of the innovative take on "the Nutcracker" performed ten years ago by the National Ballet of China.

Hectic rehearsals started in July this year, but the idea has been brewing for over a year.

Feng Ying, director of the National Ballet of China, has served as one of the choreographers of both versions.

Abandoning the lavish sets of the version performed in 2000, Feng says the latest adaptation uses minimalism to the extreme.

Feng Ying, Director of National Ballet of China, said, "This time we are presenting a dream-like Beijing. You don't see a concrete model of a traditional Beijing neighborhood as what we set up for the 2000 version. But there are plenty of hints on the stage to immerse the audience into an intense vibe of the Chinese capital."

There is some continuity. Swedish Lars Freden, who played the old antique collector in the 2000 play, comes back for the same role. And his current full-time job is the Swedish Ambassador to China.

In keeping with the original spirit of "The Nutcracker", the Chinese version stays true to the theme that innocence is something idyllic and appealing.

Despite all the transformation, the play can still be dependable for delivering festive gaiety to children and their families.

"The Nutcracker" runs at the Tianqiao Theatre from December 23rd to the 26th. And a second round of performances has been scheduled during the Spring Festival holiday in February next year at the National Center for the Performing Arts.