Falling snow, Tchaikovsky's beloved melodies, some inspired dancing and a host of elaborate sets and costumes are on the Fox Theatre stage again as the Atlanta Ballet presents "The Nutcracker" — with a lot of heart, if not much maturity.

Though performing roles they have danced many times over, the ballet members approach this annual production with refreshing enthusiasm. The leads are not complacent; they embrace their familiar characters and delve into nuanced and believable performances fitting of seasoned Broadway actors. The material helps. John McFall's choreography for the leads is classical and structurally simple enough to highlight the company's top-flight technical proficiency.

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Atlanta Ballet artistic director John McFall choreographed 'The Nutcracker.'

DANCE REVIEW "The Nutcracker" Atlanta Ballet. Through Dec. 29. Fox Theatre, 660 Peachtree St. N.E. $15-$85. 404-817-8700. Bottom line: Fresh approach to the holiday classic, even if the production can be silly. • Why don't you review a 'Nutcracker'? HOLIDAY GUIDE [an error occurred while processing this directive]

Among the standouts is Christine Winkler, who delivers a dazzling performance as the Ballerina Marya. Her razor-sharp technique and radiant confidence light up the stage, although her euphoric smile sometimes borders on crazy. No matter — dancing with too much joy is an easily forgivable offense. There to balance her blissful nature is the Prince, danced with a solid, easy perfection by veteran John Welker. Welker and Winkler are notable soloists, but together they are magnificent. Lots of rehearsal or just a natural affinity gives way to a seamless, seemingly effortless partnership.

If the love story between a ballerina and her prince no longer pulls on your heartstrings, the Dew Drop Fairy will certainly win you over. In most versions of "The Nutcracker," the story calls for a Snow Queen, a Sugar Plum Fairy and a Dew Drop Fairy, but McFall has rolled all those characters into one. A wise decision when that character is danced by Courtney Necessary. Necessary gives the performance of the evening, dancing with amazing dynamic versatility. One moment she is softly elegant, balancing with effortless grace. The next Necessary springs into action, turning at dizzying speeds with an aggressive power.

But despite the company's impressive technical abilities, this year's "Nutcracker" is not without flaw. McFall's choreography for sections like the Waltz of the Snowflakes — an intricate and beautiful piece danced as snow falls onstage and in the audience — makes the chaotic party scene look immature and underdeveloped. Granted McFall is working with children in many of these dances, but instead of challenging the youngsters, he often falls back on simple gestures and elaborate animal costumes to distract from the lack of choreographic creativity.

Aside from understated costumes on the lead dancers, most costumes are colorful and somewhat gaudy, and the sets are almost cartoonish — impressive but, when coupled with the overabundance of kid-directed choreography, they contribute to the production's immaturity.

When did "The Nutcracker," and many other ballets for that matter, become so childish? Why must panda suits and pigs en pointe dance onstage with trained artists? Maybe ballet in Atlanta is best supported by families with young children, and companies are adjusting their programming accordingly. But "The Nutcracker" is a timeless, albeit fantastical, story with scary characters (the Rat King is no Barney). Ballet patrons, just like patrons of other art forms, should be challenged with a mature reading of a historical classic. The Atlanta Ballet's highly trained professionals deserve no less.