UNTIL TOMORROW The National Dance Theatre of Bermuda's most ambitious undertaking to date, "The Nutcracker'', with Tchaikovsky's lush score, opened the Bermuda Festival in grand style on Wednesday.

Playing to a capacity audience, guest artists Elizabeth Dunn, Mayumi Hanabusa, Lorin Johnson, Michael French and Michel Gervais with well-rehearsed local participants gave a performance which was captivating throughout.

Given the restrictions of City Hall's tiny stage for a very large cast, David Allan's choreography was imaginative, well considered and effective.

Based on E.T.A. Hoffmann's fairy tale of "The Nutcracker and the King of Mice'' the ballet is, as is often the case, economical in storyline. It tells the tale of Clara, a little girl who is given a nutcracker doll as a Christmas present. After her family's Christmas party she falls asleep and the remainder of the ballet takes place in her dream. The nutcracker doll leads an army of toy soldiers against some enemy rats, Clara saves the doll's life and he turns into a handsome prince who takes her on a magic journey through a forest of dancing snowflakes. They come into the Kingdom of Sweets and are welcomed by the Queen, the Sugar Plum Fairy. She gives a party with dancers from Spain, Arabia, China and Russia, these Divertissements giving the dancers ample opportunity to display their talents.

Although one would have wished for a more opulent set in Act I -- the home of Mayor Silberhaus was a little understated -- the cast, with a charming Clara (Waynette Hollis), convincingly established their various character roles. It was good to see so many young boys involved -- notably Jelani Veney-Smith as Fritz. With special effects from Ian Birch and with Herr Drosselmeyer (Michael Gervais) and his life-size dolls (Shomeika Ingham and Rachel Van der Weg), the magic of the ballet was established from the outset.

In Act I, scene iii, Clara and her prince, Adrian Kawaley-Lathan, travel to the enchanted Land of Snow, and a very sparkling Winter Wonderland it is. Here the Snow Queen, Mayumi Hanabusa and her well-matched partner, Michael French, guide the children with the help of some fine dancing snowflakes to the Land of Sweets.

Act II is a succession of set pieces with Clara and her Prince as the disciplined and attentive audience. With few exceptions, the choreography demands professional dancers or advanced students. In a production such as this, where a high proportion of the cast are amateurs, a certain unevenness is inevitable. One was aware however, that all of the young dancers gave more than a good account of themselves, and there were some fine performances from Renee Lambert as the sultry Arabian dancer, Shomeiko Ingham and Teri Lyn Swan as the vivacious Mirlitons and Jennifer Ingham Soares who partnered Michel Gervais in the Spanish Dance. Comic relief was provided by Connie Dey as Mother Gigone with her delightfully costumed children -- congratulations to Conchita Ming and her assistants.

Artistically, the highlight of Act II was the dancing of Elizabeth Dunn as the Sugar Plum Fairy and her Cavalier Lorin Johnson. Here, in the wonderful Pas de Deux with Tchaikovsky's superb orchestration, one felt quite entranced. The ballet ended with the Waltz of the Flowers and some lovely dancing from Mayumi Hanabusa as Dew Drop and Dew Drop Fairies Jennifer Ingham Soares, Cathy Aicardi, Andrea Powell and Rachel Van der Weg.

The pre-recorded music was at times a little overpowering. In ballet, recordings can lead to rigidity and lack of spontaneity although there must be some comfort for less experienced dancers and young students in the consistency which they offer. Conducting a ballet orchestra is one of the greatest musical skills, and such an accompaniment -- even if there was room in the City Hall -- would be prohibitively expensive. It may be a long time before Bermuda can offer this artistic addition. However, we should rejoice that a local ballet company is prepared to tackle a full-length classical ballet of such magnitude -- something which could be considered for the world of opera -- and that the Festival Committee has had the wisdom to support their vision.

Our splendid young people and their dedicated teachers deserve all the help we can give. The visiting artists should be commended for the valuable inspiration they provide.

MARJORIE PETTIT Choreographer David Allan