‘It's the Valley's good fortune to have Ib Anderson as artistic head of its sole professional ballet company, not only because of his choreographic skills, but because Anderson is gifted with a kind of aggressive good taste that demands the best of everything for Ballet Arizona. The latest product of his intense work ethic is the most visually splendorous "Nutcracker" I have ever seen–and I have seen more productions of the holiday perennial than I care to recall.

You may think you're done with "Nutcracker" after decades of watching countless Claras dream of the Land of the Sweets, but Ballet Arizona's will charm the most jaded of ballet‑goers. At its heart is, of course, the dancing, which Anderson has pushed to new levels during his tenure. But the thing that's gonna knock your socks off when you take a seat at Phoenix Symphony Hall is the complete transformation of the set and costumes. Gone are the old, chilly abstractions of the previous "Nutcracker," replaced by a true storybook version of the timeless tale.

Some $1.8 million went into this production and every cent was put to good use. From the indigo blue of Drosselmayer's coat in act one, to the dreamy violet of Sugar Plum and her Cavalier, it is color–mesmerizing, dreamlike color–that dominates. Anderson, a talented amateur visual artist, has overseen the production's stunning and carefully balanced visuals, and has co‑designed the sets with Carey Wong.

The sets coordinate perfectly with Fabio Toblini's breathtaking costumes, which include, in the second‑act divertissement, marzipan spirals that swirl as the dancers turn, and in the first act, harlequin, columbine and soldier dolls that, for once, look truly magical.

The lighting design by Michael Korsch compliments the designs, and brings out the nuances of the colors. There are highlights too numerous to mention, but watch for the Christmas tree angels at the top of act two in their citrine‑yellow outfits amid the white foam of Clara's dreamscape, and prime yourself for a surprise entrance into the Land of the Sweets.

The mice in act one look like the real thing, which is to say, they look like something imagined by a child as both monstrous and comfortingly hilarious. The snow scene is now a glittering landscape strewn with 100,000 tiny crystals. Mother Ginger has been refigured as a sort of semi‑human battery for her flock of kids. The Trepak dancers have been given bushy beards and an outrageous motley of a costume.

When I saw the production opening night, the dancing was sure‑footed and engaging, and I would look for it to become bolder as the dancers settle into their new surroundings. Some of the sets arrived as late as three nights before opening, so the dancers at opening were filling a space almost as new to them as to the audience. I saw Paola Hartley as Sugar Plum throw caution to the winds in some leaps into the arms of Astrit Zejnati. Partnering in ballet is a dicey business that must involve absolute trust underwritten by rock solid technique. Only then would such things as exist in the famous second‑act pas de deux of "Nutcracker" be possible.

The excellent cast opening night also included Sergei Perkovskii as Drosselmeyer; Carly Booth as Clara; John Poppe as Clara's Prince; Natalia Magnicaballi as the Snow Queen, Michael Cook as her King, and Kanako Imayoshi as Dew Drop.

The Phoenix Symphony, led by maestro Timothy Russell, propelled the action forward with brisk tempos and crystalline phrasing, providing a sonic dreamscape to match the visual one on stage. The production continues through Dec. 27. Visit  www.balletaz.org for tickets and information.