Carlos Acosta Stages A Festive Party
Carlos Acosta reimagines a Christmas classic from a Cuban perspective and with a nutcracker in the form of a Cuban mambí soldier, a classic 1950s’ Corvette, and palm trees swaying in the background, this feels like a genuine celebration of Cuban culture, writes Melina Block.
Adding a more personal level, Acosta brings in aspects from his own memories of growing up to create an authentic, dazzling spectacle.
As the first notes of music play, it is clear that this is going to be a departure from the traditional ballet. Tchaikovsky’s famous score has not been replaced, but rather re-arranged by Cuban composer Pepe Gavilondo, incorporating beats and rhythms from his and Acosta’s native country. The impact is powerful: even the most reserved audience member cannot deny that a party is underway – and we have all been invited.
A digital set design further enhances the party atmosphere. Acosta joins forces with previous collaborator Nina Dunn, the mind behind a video projection which transports the theatre to Havana and, later, the Kingdom of Sweets.
The projection opens the show, then provides a vibrant backdrop for most of the performance. The use of video adds a modern vibrancy to the piece, perfectly complementing the music and movement.
Although impressive, the aural and physical setting never distracts from the main highlight: the dancing. Fusing latin social dances, classical ballet, and contemporary dance, Acosta rewrites Nutcracker in his unique, physical language.
The Christmas party includes a traditional Cuban dance, complete with chancletas – wooden clogs – that looks as much fun to perform as it is to watch. This is revisited towards the end of the show, one of many festive celebrations sprinkled throughout the piece.
The protagonist, Clara, is the only dancer in pointe shoes for the first act. Her whimsical, playful spirit is apparent in her powerful yet delicate grace. Classicists will be pleased to know that the second act features more pointework from the rest of the company, including a beautifully moving pas de deux between the iconic Sugar Plum Fairy and the Nutcracker Prince.
Floowork and angular poses are choreographed into the waltz of the snowflakes to close the first act. These more contemporary movement elements are excellent choices, really heightening the sense of drama as both Clara and the audience are whisked into this magical world.
The more episodic second act is a visual treat when we get to witness a series of sensual duets, playful trios, and intricately choreographed ensemble dances. The magic of the Kingdom of Sweets feels palpable, with the dancers expertly communicating a sense of raw energy and excitement.
Once the journey is over, Clara heads back to sleep in Havana. While she may be wondering if it was all just a dream, there is no doubt that Nutcracker In Havana is a party that the audience will remember for a long time.
Queen Elizabeth Hall, Southbank Centre, SE1 8XX until 15th December.
https://www.southbankcentre.co.uk/whats-on
This event is sold out but the tour continues:
10 – 11 January: Woking New Victoria Theatre; 17 – 18 January: Milton Keynes Theatre; 27 – 28 January: Salford Lowry.
