Review: CARLOS ACOSTA'S NUTCRACKER IN HAVANA, Southbank Centre

Is it a stretch to say that The Nutcracker, Tchaikovsky’s 1892 ballet about a girl’s fear of rats, an enchanted doll and a dream of The Kingdom of Sweets, has become this country’s favourite Christmas treat? Though pantomimes remain popular, they’re not quite so ubiquitous as once they were, their characters, set pieces and relentless innuendo feeling more 20th century than 21st century, especially to younger audiences. In the absence of repurposing Frank-N-Furter as a cross-dressing Santa Claus and Riff Raff as the leader of his elves, it’s a trend that’s only going to grow.

So the challenge for any production of this seasonal favourite is to do something unique with it, find relevance for the fairytale, avoid complacency setting in on both sides of the fourth wall. Carlos Acosta found inspiration for just such a reimagining in his Cuban roots, where Christmas was banned by Fidel Castro during his childhood, but, as is the case with forbidden fruit, now tastes all the sweeter as a transgressive delight.

Fusing the unlikely locations of Havana (evoked by Nina Dunn’s impressive, if slightly eerie, video work) and, er…, Norwich, where this touring show was developed, what emerges is a magical combination of tradition and innovation, of Latin rhythms and Russian melodies, of the heat of a Caribbean night and the cold of a Arctic winter. Loading up all those contradictions, it shouldn’t work, but it does.

The show’s success is founded on the commitment of everyone involved to Acosta’s vision. His own company, Acosta Danza, needs no schooling in the traditions of their homeland and none either in the European ballet disciplines in which they have trained. The dancers respond to Pepe Gavilondo Péon’s interpretation of the celebrated score with their hearts as much as their feet, a wonderful looseness overlaying impeccable classical technique. Add Angelo Alberto’s eye-catching costumes, and the showmanship dials the spectacle all the way up to ten.

Laura Rodriguez vests the dreaming girl, Clara, with a girlish charm, using the licence Christmastime offers for a retreat away from a confusing and slightly scary adult world on which she stands on the brink, to simpler childhood pleasures of candies and handsome princes coming to her rescue. Yasiel Hodelín Bello is a dashing Prince, whose lifts, especially with Lauretta Summerscales’ precision as the Sugar Plum Fairy, brought forth gasps from the house. Leandro Fernández and Brandy Martinez, in the Chinese Dance, brought forth gasps of a different nature as the two wrestlers, all but oiled up for a bout in the ring. Alexander Verona finds just the right level of equivocal menace as Tío (Uncle) Elias Drosselmeyer, back on the island after 30 years in Miami with magic in his hands and an occasional malevolent twinkle in his eye.

Traditionalists may quibble about some of the liberties taken and it’s handy to have seen an orthodox version of the ballet, the better to appreciate Acosta’s variations, but it’s not really necessary. The only major fault lies in the pre-recorded music, which does take a little of the edge off the visceral element of live performance of dance, so very different IRL than on a screen. But, heaven knows, it’s tough enough to tour a show these days, so we can forgive that concession to expediency.

With performances scheduled through January, it’s safe to say that, like an adorable puppy, this show is not just for Christmas.   

Carlos Acosta's Nutcracker in Havana is at the Southbank Centre until 15 December and on tour

Photo images: Johan Persson

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