English National Ballet's 2011 season listings pivot largely on the populist Strictly Gershwin dansical before returning to The Nutcracker for next Christmas. In between there are two intriguing programmes given brief but welcome London viewings, highlighting two French masters almost never shown in the UK, Roland Petit and Serge Lifar. Both were young radicals in their time, Lifar as Diaghilev's star who went on to lead Paris Opera Ballet, and Petit, the post-war rebel who oozed French chic, sexuality and modern style in his ballets.

The lighting chief holds the success of a magical fairy-tale staging in his hands. Whatever the designer has done, however fantastical and virtuosic his visions, the lighting chief can ruin it. So it is with English National Ballet’s new Nutcracker, in which two gigantic miscalculations kill any of its old-fashioned atmosphere. Act One is hobbled by a gauze dropped over the front of the stage for half of it; Act Two is sabotaged by ultra-violet lighting like a morgue fridge in a horror movie.

The designer of a fairytale ballet is far, far more important than the choreographer. It's those visions that lodge themselves in children's heads, in adults' memories, embedded with the music. And at no time more potently than Christmas when it's time for The Nutcracker and Cinderella.

“Rudolf thought, what you wanted out of life you had to get straightaway, because if you thought about it too long, you might be dead,” said the ballerina Patricia Ruanne, the first Juliet in Rudolf Nureyev’s version of Romeo and Juliet. Coming a dozen years after Kenneth MacMillan’s landmark Royal Ballet version, Nureyev’s - for London Festival Ballet - is regrettably eclipsed, for what a powerful piece of theatre it is, and this autumn the chance to see both versions side by side has underscored that even if Nureyev was not the greatest choreographer, this was a story about individuals swamped in politics - something he knew about, from experience.

Those teenage lovers Romeo and Juliet will be dying nightly on a stage near you in various guises for much of the autumn - not as Shakespeare’s play, but as ballets and operas based on it. Next week both Birmingham Royal Ballet and English National Ballet field two of the more famous versions on their autumn tours, while at the end of the month the Royal Opera stages a rare revival of Gounod’s opera.

English National Ballet turns 60 next week, and nowadays just enduring has to be enough. Smelling of greasepaint and tour buses from the very first, it also smelled of stars - Alicia Markova and Anton Dolin who began it, Rudolf Nureyev and Natalia Makarova who created splendid productions for it, and extraordinary late-career performances by Lynn Seymour. Stars have been born in ENB too, even if they burst into full gleam elsewhere - Trinidad Sevillano, Tamara Rojo, and more than likely the young lad who is ENB’s latest find, Vadim Muntagirov, who danced last night in Cinderella.

Within two bars of the overture starting, the first flashes could be seen. English National Ballet’s arena Swan Lake at the Albert Hall - they make no bones about it now - is intended for people who rarely go to the ballet. Actually it is in many cases for people who have no compunction about talking and taking pictures through the ballet quite routinely.

Visa red tape has dashed English National Ballet’s plans to open its gigantic arena Swan Lake with the scheduled Russian star Polina Semionova. The 26-year-old ballerina from Berlin Ballet was much acclaimed on her debut with ENB in the production six years ago, and her return was expected to make a big splash for ENB’s summer blockbuster, marking the company’s 60th anniversary. But as the swans flock into the Kensington arena, Ms Semionova will still be in the air flying in from Berlin.

Was it with a hollow laugh that ENB programmed Cinderella for the election period - as a reminder that glittery fairy phaetons are in fact pumpkins with money? Was it a hint that ballet needs political fairy godmothers? With airwaves full of budget cuts, nothing was more welcome yesterday than to go into a Bristol Hippodrome matinee, full of noisy children, and watch this delightful fairytale of wish-fulfilment laid before them. Even better, with the radiant Elena Glurdjidze as the ash girl.

It's a short run, in London, but a sweet one. At the Coliseum, English National Ballet's revival of a 1971 Giselle is a showcase for a company on exceptionally calibrated form, offering audiences a taste of its myriad talent over six more shows after Wednesday's opening [the cast changes each time - Ismene Brown reviews a second cast below].