Carlos Acosta’s Cuban inspired version of Tchaikovsky’s 1892 ballet reveals how it is a story that can be transformed to suit a different culture effortlessly.
How to take a classic ballet and transform it into something refreshing and vibrant without losing the spirit and enjoyment of the story can be a difficult thing to do – particularly when it comes to The Nutcracker.
But Carlos Acosta manages to do so brilliantly by adding a Cuban flair to every aspect to this lively and dreamlike story. It is filled with creativity choreography wise, while Tchaikovsky’s score is still recognisable – but with extra rhythm that works well for the most part aside from a couple of moments that don’t quite fit the dancing.
The story is still very much traditional, even with the change of setting. Clara is celebrating with her family in her home when she is gifted a nutcracker doll by her uncle Tío Elias Drosselmeyer, she is soon whisked into a world filled with handsome princes and king rats. Throughout his choreography, Acosta really retains the dreamlike qualities particularly during the second act in which whisks the audience and Clara to the Kingdom of Sweets. There is charm to be found in Yasiel Hodelín Bello’s (the prince) duet with Lauretta Summerscales as the Sugarplum Fairy, but also a joyous playfulness to be found early in the show that celebrates families and communities coming together for the festive season. It has all been thought through perfectly, filled with plenty of energy and passion.
Pepe Gavilondo’s interpretation of Tchaikovsky’s score has much to recommend it but some of the more electronic aspects of the music do tend to jar slightly, threatening to distract from the dancing in some ways – but perhaps it would be different if the music was performed live (not always possible when a show like this is touring). But I did enjoy the lively latin rhythms that tied in beautifully with Tchaikovsky’s original music which constantly brought a smile to the face.
It has also to be said that Nutcracker in Havana is filled with creativity and will draw audiences in no matter what their age is. Nina Dunn’s scenography effectively brings to life not only Havana but also The Kingdom of Sweets, capturing the audience’s imagination beautifully. Angelo Alberto’s exquisite costume design has been thought out to perfection to capture the range of characters perfectly. The whole show is filled with colour and encourages the audience to feel closely involved with everything that is unfolding.
Performed by Acosta Danza, there is a real exuberance and magic to the performances that will certainly leave you with a smile on your face, for example the sequence involving the snowflakes is filled with a Christmas charm that fills the heart with joy. Specific standout performances for me include the charismatic Yasiel Hodelin Bello as the Prince (who will certainly be one to watch in the future), Laura Rodriguez as Clara to offer a suitably girlish joy to the character’s sense of wonder of what she is experiencing and the poise and precision of Lauretta Summerscales as the Sugar Plum Fairy. But the entire cast show incredible dedication and joy to their roles that it is hard to keep your eyes off any of them.
Overall, Nutcracker in Havana is refreshing proof that you can take something classic and transform it to suit another culture without taking away from the spirit of the original if it is done in the right way. Absolutely fabulous.
By Emma Clarendon
Nutcracker in Havana can be seen at the Southbank Centre until the 15th December, before touring until the end of January.
Rating: ⭐⭐⭐⭐