Innovative, traditional, fun: Carlos Acosta’s Nutcracker in Havana

Acosta Danza, Theatre Royal, Norwich
November 1, 2024

Banners attached to lampposts in Norwich proclaim that it is the ‘City of Stories.’ At the Theatre Royal it was a new take on an old story: Carlos Acosta’s Nutcracker in Havana for Acosta Danza.

Acosta is on record as saying that he wanted the show to be authentically Cuban while also respecting the traditions of the festive ballet known and loved by so many. He succeeds. While very clearly set in Cuba, with the country’s influence extending to the choreography and music, Nutcracker in Havana remains close to the versions most people will be familiar with.

The story is all there, told straightforwardly with no subtexts. So is Tchaikovsky’s music, but given a wonderful, sometimes witty, makeover by Pepe Gavilondo Peon. Indeed, the complex rhythms of the score and its incorporation of many Cuban musical forms are in many ways the heartbeat of the ballet. Yes, the story is important. Of course it is. But it’s the music that drives all the dances and, on more than one occasion, my own feet. I suspect I wasn’t the only one foot-tapping away.

Having given us a glimpse of the elegant Tío (Uncle) Elias Drosselmeyer (Alexander Verona) who has returned to Cuba to seek out his home and relatives, and his magic car that drives itself, we find ourselves at a family Christmas gathering.

In contrast to Drosselmeyer, the family is clearly not well off. But while the tree is somewhat threadbare, the mood is free and bright. A formal Stahlbaum house party it most definitely is not.

All the familiar characters are there not least the bubbly teenage Clara, played convincingly throughout, and with just the right touch of awe and wonderment, by the super Laura Rodríguez. She still has an annoying brother, Fritz (Raúl Reinoso), who still has some equally annoying friends. Fritz obviously gets it from his grandfather, played with a lovely twinkle in his eye by the grey dreadlocked Denzel Francis, and who’s not averse to taking a couple of presents from under the tree before he should.

A lot of the familiar moments are there too, including some excellent magic tricks by Drosselmeyer. Anyone familiar with Sir Peter Wright’s Royal Ballet and Birmingham Royal Ballet productions in particular will have great fun spotting all the little references to those ballets. One thing you won’t find elsewhere is a dance using traditional Cuban wooden-soled sandals, though. And what a joy that is too.

The transformation scene that sees Uncle Elias turn the house into a mansion is cleverly done using a physical set and Nina Dunn’s excellent projections, although she truly comes into her own later. There’s a rather clever costume transformation for the lead characters too.

Instead of the usual Nutcracker doll, Acosta gives us a Mambí (Cuban soldier), who later transforms into a life-size figure, complete with huge moustache.

Dunn’s first big high spot comes as the Mouse King is conjured out of leaves of trees. The battle between the soldiers and mice is excellent, with a lot of hand-to-hand combat after a cannon has failed to scare off the rodents. The denouement of the battle comes in the traditional way, Clara bashing the mice’s leader over the head with a pointe shoe.

Over the years, Clara and her Prince have travelled to Act Two by various means: giant goose, hot air balloon, sleigh, to name but a few. Now you can add Uncle Elias’ magic car.

But we get to ride too. For the opening of Act Two, Dunn takes us on a magical flight through the deserted, snow covered streets of Havana as if we were sitting right there alongside Clara. When we arrive at the Land of the Sweets, it turns out to be a fairytale place of gingerbread trees, cupcake houses and giant candy canes.

Given the ballet’s Latin setting, perhaps it’s only to be expected that the Spanish Dance is the best of the divertissements. Full of attack, Melisa Moreda and Brian Ernesto were on fire. But it was run close by the sultry Arab Dance, a very classical pas de deux full of tricky lifts for Amisaday Naara and Chay Deivis, both excellent. The Chinese takes the form of a combat dance (Leandro Fernandez and Brandy Martínez), one of the men with sword, the other with spear. Clara mostly watches the divertissements, only joining in with the Russian, a traditional affair with Reinoso. But throughout it all, Rodriguez is no mere onlooker. Like a child in a candy store, her face is a picture of happiness and delight as each dance is served up.

Acosta tweaks the Waltz of the Flowers, introducing a lead male and a pas de deux (Patricia Torres and Enrique Corrales) that fits very comfortably. The rose pink costumes are a delight too. When the wooden sandals go back on for a big ensemble number, the dance is utterly joyous.

Clara does not get to dance the Grand pas de deux, although she does watch. Acosta has bolstered his roster by bringing in a few guest artists, and on opening night, Sugarplum fell to Laurretta Summerscales, who danced it with all the poise and assurance one might expect. Here is some of the best music, Gavilondo Peon’s adaptation coming with a real ballroom feel at one point. Alejandro Silva is a fine Prince.

Acosta’s choreography might not be that technically exacting, but Nutcracker in Havana is a ballet that is going to have seriously wide appeal. There is a lot to like. It delights in so many ways. Filled with colour and energy, it’s guaranteed to put a smile on the face. I suspect Acosta Danza have a winner here that will run and run.

Carlos Acosta’s Nutcracker in Havana with Acosta Danza continues on tour to Marlowe Theatre, Canterbury; Waterside Theatre, Aylesbury; Richmond Theatre; Queen Elizabeth Hall, Southbank Centre, London; New Victoria Theatre, Woking; Grand Theatre, Wolverhampton; Milton Keynes Theatre; and The Lowry in Salford

Click here to read David Mead’s conversation about the production with Carlos Acosta and Nina Dunn.