Review: Acosta Danza – ‘Nutcracker in Havana’

Carlos Acosta’s Nutcracker in Havana probably raised a few eyebrows and some scepticism in the hearts of traditionalists, but even the most dyed-in-the-wool of them would have been hard-hearted indeed not to appreciate and enjoy the exuberance and sheer joy in this production. Firmly set in Havana and full of Cuban rhythms, this was a light-hearted, good fun Nutcracker, with a cheeky Lara enjoying every minute of her adventures.

A Cinematic Flight to the Streets of Cuba

Right from the outset, we were undoubtedly in Cuba. There was a photo of Havana on the safety curtain and, before a single dancer appeared on stage, we were treated to a ‘flight’ through the city.

Nina Dunn’s sets, including the video projections throughout the show, and Andrew Exeter’s lighting design were clever and atmospheric—a real transport of delight, beyond even what we have perhaps come to expect from the Nutcracker. No spoilers, but the audience I was part of was spellbound.

“…the most dyed-in-the-wool of them would have been hard-hearted indeed not to appreciate and enjoy the exuberance and sheer joy in this production.”

And anyone who worried about the loss of tradition was soon reassured that the setting might be different—a simple wooden house with a palm-thatched roof, rather than a Victorian mansion—but the story of a family Christmas was still there loud and clear, the magic intact.

Tchaikovsky Reimagined with a Latin Pulse

So to the music. Tchaikovsky’s score has been wonderfully ’Cubanised’ by composer and arranger Pepe Gavilondo.

You will definitely recognise all of the original melodies, but the rhythms are a bit different, with nods to the many different influences that have informed Cuban music. Some very different Christmas dance traditions were able to be incorporated because of this, giving the show a real beating heart that was uplifting and joyful.

Exotic Design and Vibrant Visual Storytelling

Designer Angelo Alberto’s costumes were colourful, beautiful, quirky and exotic, all in the right places. There were so many different costumes that it would be hard to pick out the most outstanding ones amongst them, though I have to say King Rat’s tail and the Arabian dancers stood out, as did the Sugar Plum fairies, but then… no, too many to choose from!

Technical Perfection from the Acosta Danza Company

And I guess what we were really there for: the dancing. Oh my word, but Acosta Danza dancers are amazing and can pivot from one style to another in a heartbeat, and worry not, all the tradition you’d ever want was beautifully executed by the Prince (Paul Brando) and the Sugar Plum Fairy. Technically flawless and absolutely mesmerising. There were more than twenty dancers on stage in total, and the rigour and perfectionism each one of them demonstrated was jaw-dropping, particularly given how young many of them are.

“Tchaikovsky’s score has been wonderfully ’Cubanised’ by composer and arranger Pepe Gavilondo.”

Lara was mischievous; Tio Elias quite the magician; the ‘family’ were amusing and believable; the Prince wonderfully charming. The Rats and ‘Mambises’ (soldiers) were fun, but also a reminder of Cuba’s War of Independence, especially given the latter’s costumes. Only a lack of a cast list prevents me from giving flowers for each by name, but they are deserving nevertheless.

Spreading the Global Message of Dance

Acosta Danza is a true inspiration, and all accolades go to Acosta himself, giving back in spades what he himself recognises ballet has given him. His Cuban dancers have all the opportunities to come to theatres around the world and it’s Acosta’s desire that they can perform on some more provincial stages along the way, spreading the message that dance is for the many, not just the few.

The ease with which each dancer appears to execute technically exacting sequences belies the hours of rigorous practice and pain that have to be endured. In comparison, Edinburgh’s chilly temperatures must seem like a breeze to these hardy men and women.

It was magic. There was magic. Acosta is a magician. It had been forecast to snow in Edinburgh, but inside the Festival Theatre, man, it was hot, hot, hot!

Featured Image: Alexander Varona (Drosselmeyer), Adira Díaz (Clara), Amisaday Naara (Sugarplum) & Paul Brando (Prince) – Image Tristram Kenton