Nutcracker in Havana, Acosta Danza
LtoR Laura Rodriguez as Clara, Yasiel Hodelín Bello as Prince & Laurretta Summerscales as Sugarplum in Nutcracker in Havana © Johan Persson
Carlos Acosta’s Nutcracker in Havana promised audiences a sunnier reimagining of the beloved ballet. And none delivered better on this than the score.
Don’t panic, Tchaikovsky’s melodies remain, but they have been layered with panpipes, guitars and drums and augmented with salsa timings – it was enough to make me want to get out of my chair and bachata (significant, dear reader, because the dance style terrifies this prude Brit like nothing else). The score was the real scene setter here. It provided the perfect musical backdrop to Acosta’s subtle nods (only fully appreciated via the programme notes) to his upbringing in Havana during the first act: joyful ‘chancleta’ clog dancing, which Clara goes on to teach the residents of the Kingdom of Sweets; a Maypole (imported to Cuba during British occupation); and a Nutcracker army modelled on ‘Mambises’ (independence fighters).
Rather frustratingly, the second act struggled to continue this world building. Supposedly set in a Cuban Jazz bar (again, thank you programme), the work became a lot more like a traditional Nutcracker – our only reminder that this was an alternative production was our fabulous score. While I imagine this was to contrast the world Clara came from with the one she entered in her dream, after Act 1 ended with a rather jazzy, contemporary snow scene it was a disappointment to not see this innovation continue. The most notable missed opportunity was the presence of the Arabian and East Asian dances, controversial hangers-on from the 19th century original which this reimagining gave the perfect opportunity to rethink.
LtoR Melisa Moreda,Thalía Cardin, Brandy Martínez, Leandro Fernandez, Aymara Vasallo, Aniel Pazos, Daniela Francia and Paul Brando in Nutcracker in Havana © John Persson
What Act Two did continue with, however, was the overwhelming feeling of joy, and no one encapsulated this more than Laura Rodríguez. Her Clara was one of childlike innocence and wonder as she got taken on her magical adventure. Daniela Francia also gave a memorable performance in her comedic role as a mechanical doll, but it was Bayerisches Staatsballett Principal Lorretta Summerscales as the Sugar Plum Fairy who was a cut above the rest. While the company thrived during contemporary and Cuban group numbers, it was her ethereal, graceful lines that stood out. However, I felt that even she was restricted from dancing at her best by the cramped staging of the Queen Elizabeth Hall.
Despite the work’s struggle to consistently weave Cuban influence through both acts, this work is guaranteed to leave you with a smile on your face and a warm feeling inside, ready to face Britain’s ice-cold winds awaiting you when you leave the theatre.
★★★★
Nutcracker in Havana by Carlos Acosta, performed by Acosta Danza
Queen Elizabeth Hall, Southbank Centre, London / 11 September 2024
Press ticket
Touring until 28 January 2025. Visit website →
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