Carlos Acosta’s Nutcracker In Havana dance review: A new lens
Tchaikovsky’s seasonal classic is given a bold twist with vibrant relocation and fresh flavours
The Nutcracker has long been as much a part of Christmas as trees and presents. But growing up in Cuba during the 1970s and 80s, none of those things were available to Carlos Acosta. With celebrations banned by Fidel Castro for many years, Christmas made a glorious return to Cuban homes in December 1998, which is exactly when Acosta has set his spirited version of the world’s most famous ballet. At first, watching Nutcracker In Havana is like finding a spoonful of dahl in your chow mein, or pasta sauce poured over roast potatoes. Delicious tastes usually found on separate plates, now occupying the same space. Because although the storyline remains almost identical (Clara is given a doll at a family party, a big fight breaks out between rats and soldiers, a journey through snow and ice leads to the land of sweets etc), this Nutcracker has a very different flavour.
From the opening notes, through the famous pas de quatre, dance of the sugar plum fairy, and grand pas de deux, Tchaikovsky’s original score is clearly evident. Only now, it’s been augmented and re-orchestrated by Cuban composer Pepe Gavilondo, bringing in new and unexpected instruments. As choreographer and overall visionary, Acosta uses the new score as a gateway to his homeland, introducing us to traditions that veer from the ballet’s usual cultural path just enough to make it interesting without losing its way.
The dancers of Acosta Danza embrace his choreography with technical skill and athleticism. Act two’s thematic divertissements, in particular, gives them a chance to shine (with especially loud applause going to the Arabian duo). If there’s a downside here, it’s due to finance and logistics. Part of the wonder of The Nutcracker, is hearing Tchaikovsky’s magnificent score performed by a live orchestra, and it would have been remarkable to witness the additional Cuban musicians in the flesh. But companies who can afford to tour that size of personnel are few and far between, and this isn’t one of them. What Acosta does gift us, however, is a well-loved (some might say well-worn) classic viewed through a new lens. And judging by the full house, it’s just what the ballet world needs.
Carlos Acosta’s Nutcracker In Havana is on tour until Wednesday 11 February; reviewed at Festival Theatre, Edinburgh; picture: Tristram Kenton.