Carlos Acosta's Nutcracker in Havana Review ★★★★★

You won't see a more vibrant, joyous Nutcracker this Christmas. The Cuban superstar ballet dancer Carlos Acosta dreamt of infusing the Christmas ballet with, in this own words, ’the soul of Cuba’. His dream has become vital reality in Nutcracker in Havana.

Everybody’s favourite Christmas ballet, The Nutcracker has undergone many makeovers since its premiere in 19th century Russia. It’s eminently adaptable: you need a Christmas Eve family party for Act I; and essentially a series of divertissements in Act II, courtesy of a little magic and the unbound power of dreams.

Acosta’s Nutcracker in Havana, danced by his two Cuban companies – Acosta Danza and Acosta Danza Yunior – follows the template, but Acosta’s own concept, choreography and direction make it unique.

READ OUR INTERVIEW WITH CARLOS ACOSTA HERE

Designer Nina Dunn’s ingenious projections work like magic to set the various scenes helped by minimal physical props and atmospheric lighting from Andrew Exeter. In Act I she whizzes the audience through the streets of Havana to a shack in lush countryside, where a boisterous family meet on Christmas Eve. The sedate atmosphere of the original well to do German family gives way to lively, uninhibited, very physical jostling (just this side of slapstick) between three generations of young Clara’s family and visiting neighbours.

Dancers of Acosta Danza and Acosta Danza Yunior in Nutcracker in Havana. Photo: Johan Persson

The scene is detailed: there’s a spindly Christmas tree decorated with shiny empty coca-cola cans, the presents are simple but ecstatically received, the family dance a conga – Cuban composer Pepe Gavilondo’s adaptation of Tchaikovsky’s much-loved score, keeps its melodies recognisable, but blends in Latin phrases and rhythms.

Magic happens with the arrival of Miami emigré Uncle Elias in his impressive replica of a 57 Chevrolet, which rolls smoothly onto the stage. Among his many gifts, he brings mechanical dolls representing Afro-Cuban deities Changó and Oshun, alongside a tin soldier. And, of course, the titular Nutcracker doll, here represented as a mambi, a Cuban soldier who fought against Spain in Cuba’s war of independence.

The battle between the mambises and a gang of rather impressive rats (pictured top) is present and correct; as is the dance of the snowflakes.

Dancers of Acosta Danza and Acosta Danza Yunior in Nutcracker in Havana. Photo: Johan Persson

In Act II Clara is transported in the Chevrolet to the Land of Sweets; the divertissements imbued by Acosta’s choreography with grace, in the case of the Waltz of the Flowers, and thrilling acrobatics in the Chinese dance.

Brandy Martínez and Leandro Fernandez in Nutcracker in Havana. Photo: Johan Persson

It culminates in The Sugar Plum Fairy pas de deux, its choreography unchanged, but danced to a gentle jazzy adaptation of the famous tune.

To the last person all 24 dancers, performing in multiple roles, fizzle with energy and skill. Acosta Danza’s Laura Rodríguez is delightful as Clara, her technique lustrous and assured, her acting as a dazzled young girl entirely credible; Raúl Reinoso is a pleasantly annoying cousin Fritz in Act I and devours the stage in a virtuoso performance of the Russian dance of Act II.

Guesting Cuban veteran dancer and choreographer Alexander Varona is an authoritative central presence as Uncle Elias ; and Lauretta Summerscales, a British principal dancer with Bayerische’s Staatsballett, was a regal Sugar Plum Fairy, ably partnered by Acosta Danza’s Alejandro Silva.

Laurretta Summerscales as Sugarplum and Alejandro Silva as Prince in Nutcracker in Havana. Photo: Johan Persson

Carlos Acosta’s Nutcracker in Havana was a co-production with Norwich Theatre Royal and Valid Productions. It will tour the UK until the end of January, coming to London’s Southbank 10-15 Dec.