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★★★★
Carlos Acosta’s ‘Nutcracker in Havana’ has been in Canterbury this weekend, for the second leg of its Autumn and Winter UK tour. The production sees the renowned choreographer take the classic ballet and transport it to Cuba, adapting the original story and adding a Caribbean twist. As a fan of festive theatre and the creative’s work, I had been so looking forward to its arrival in Kent. I was fortunate enough to be able to catch the show on opening night at the Marlowe, which was just what I needed to start getting into the festive spirit. ‘Nutcracker in Havana’ is a refreshing seasonal alternative, featuring Latin rhythms, elegant choreography and exquisite costume design. The production is brought to life by the Acosta Danza and Yunior companies, as well as various guest artists and guest dancers from the Acosta Advanced Training Hub in Woolwich.
Cuban influences
From the moment you walk into the auditorium, it is clear how much the creative team have intertwined the spirit of Cuba into the source material. The initial curtain showcases a postcard of Havana and various projections are used throughout to represent rural and city life. However it is not only the visuals that evoke Carlos Acosta’s homeland, Pepe Gavilondo and Yasel Muñoz’s orchestrations and arrangements of Tchaikovsky’s score take the music to new heights. The changes create a party-like atmosphere which is facilitated by the decision to include local instruments.
Furthermore the choreography is fun and playful, allowing the dancers to really embody the music and truly celebrate the festive season in their roles on stage. A particular highlight is when the whole family starts dancing in clog-like shoes around a maypole. The sounds and rhythms on stage, as well as the overall atmosphere, are an absolute joy to experience.
Narrative and storytelling
A criticism more of the original ballet than this specific version, the majority of the storyline is isolated to the first act, where Clara (played by Adria Díaz) receives a Nutcracker figure from the magical Drosselmeyer (Alexander Varona). In this version the Nutcracker is dressed as a Cuban Independence fighting soldier, and the adventures take place in new locations. In the original, the second act is where the central character travels to the Land of the Sweets, which has been replaced with a marquee in ‘Nutcracker in Havana’. This is where the choreography really comes into its own, showcasing various genres and introducing the Sugar Plum Fairy. Moreover, it is also the section where the narrative loses the warmth that comes with the family sequences. It is the comfort of the generations coming together which makes this production and it only returns at the very end, when Clara wakes up. That being said, the marquee scenes are dazzling and imaginative.
A heartwarming and authentically Cuban take on The Nutcracker
Carlos Acosta’s ‘Nutcracker in Havana’ has now finished its run in Canterbury, but it continues to tour until January. I definitely recommend heading to see the show, as it offers something totally different to pantomimes and regular revivals of festive classics. The show will be in London in mid-December, with performances at the Southbank Centre’s Queen Elizabeth Hall. It is a wonderful piece of dance theatre that offers a sprinkle of Christmas magic and also helps to put Havana on the map!
Thanks for reading my blog today.
Love Kat xxxx
*My ticket for ‘Nutcracker in Havana’ was gifted in exchange for an unbiased review.
Unfortunately I have not seen the show as I live in Austria but the clog like shoes you described may well have been chancletta and the may pole is typically used in Cuban carnival. Cuba has a wide range of dance and music vocabulary including folkloric, popular, contemporary and classical ballet. I would imagine Carlos Acosta and his team of dancers will have referenced many along with references to Cuban history.