Nutcracker in Havana

While the overriding story remains true to the original, the introduction of elements of Cuban and Caribbean culture fit naturally and never feel forced – from the Chevrolet that Tio drives to the costumes and traditional dances. However it is perhaps in the music (re-arranged by Pepe Gavilondo) that this piece really comes alive: the inclusion of traditional Latin beats and rhythms brings a fresh take on Tchaikovsky without feeling like a parody, perhaps best expressed during the famous Dance of The Sugarplum Fairy (here set in a jazz club rather than the traditional Kingdom of the Sweets) where both the music and dancing feel fresh and contemporary whilst retaining their traditional charm.   

It’s perhaps to be expected that under Carlos Acosta’s guidance that the members of Acosta Danza are without exception incredible performers – in particular alongside Laura Rodriguez, I was particularly impressed by the three ‘dolls’ – Zeleidy Crespo, Frank Junior and Chay Deivis.