Choreographed and directed by Cuban dance phenomenon, Carlos Acosta, Nutcracker in Havana, (or Havana a la Nutcracker?) has been praised to the skies and beyond since it opened in November 2024. That, though, is not nearly praise enough.
Exuberant intimacies of joy, sunshine, beauty and expertise constantly fill the stage to amaze beyond amazement as delicious, mind-blowing musical innovations blend non-stop with fantastic dance performances in intriguing new ways. A talented host of vibrant, charismatic performers, perfect costumes, glorious music and a set filled with endless visual wonders stun at every moment in ever-changing ways. Every element is a colossal accomplishment: together they turn the thin Nutcracker plot (in which Christmas toys and rats magically come to life to dance) into an exciting, well-rounded, people-filled, joy-filled drama that combines traditional ballet with Cuban dance and laces Tchaikovsky treats with exciting Latin twists and turns.
The inspired score of Cuban composer Pepe Gavilondo is a magnificent, thoroughly uplifting creation even to the ears, surely, of the most devout Tchaikovsky fan. Retaining original melodies, the delightful orchestral arrangements dance nimbly in fantastic, stunning directions, skilfully incorporating sunny Caribbean rhythms and Cuban dance styles in a colourful, energetic party/carnival atmosphere, instruments swapping and combining at every turn. Foot-tapping Latin rhythms and festive, light-hearted street-band textures flow through Tchaikovsky’s iconic strains, conjured by seven string players, piano, keys, jaunty percussion, flutes, piccolo, Cuban tres and lute, saxes, clarinets, brass, acoustic and electric guitars and occasional vocals. It all works pretty perfectly – apart perhaps, from one use of the laid-back, semi-humorous trombone, otherwise beautifully deployed, that feels out of keeping with the more delicate mood at that particular point. The music’s contagious happiness and good humour, though, totally reflect and enhance the mood of the entire drama.
A genuinely sunny, Cuban atmosphere grabs us from the start as, video-led, we sweep through Havana’s iconic streets and across spectacular, lush, hot plantations to arrive at a humble wooden, palm-roofed home, frantically busy with people, young and old, from squabbling youngsters to kindly, tottering oldsters, interacting with humour, with footballs, wheelbarrow and milk churns as they dance before a simple, attractive Christmas tree, dressed in simple, loose tops, shorts, trousers and skirts. Transformations begin with the arrival, on a sumptuous motor-cycle, of tall, elegant, rich and successful Tio Drosselmeyer in ultra-smart suit and sparkling waistcoat, full of magic tricks and laden with gifts. Alexander Verona, in a non-dancing role, plays him superbly, maintaining a stately yet kindly stage presence, boosted all the way by his sunny smile, while his quietly powerful presence as master of proceedings throughout the whole piece lends excellently integrated continuity to the disparate episodes. Likewise, wonderfully played, and with him all the way, is young Clara, recipient of the magical Nutcracker Doll and witness to all the magic. Charming, thoroughly endearing, fine dancer Adria Diaz sparkles with genuine wonder and delight, radiating joy far and wide.
Lavish brilliance pours into every aspect of this production as highly traditional ballet performances in tutus, tight, white tights and a vast elegance of sumptuous costumes intersperse with joyful Cuban traditions, as when wooden “clog” chancletas are put on (more akin, perhaps, to Japanese geta) and profusions of colourful Maypole ribbons descend for full-on Cuban carnival celebrations, all the more joy-filled, perhaps, given that Christmas was officially banned in Cuba for 30 years, including when Acosta was growing up.
Tio Drosselmeyer wows with elaborate magic tricks, with transformations of the simple home into marble-staired mansion and plain outfits into party-time posh and by having toys come to life, the show wows yet further with its own magic. Nina Dunn’s set and overwhelmingly beautiful projections, often upon fabulous layers of gauze and drapes, Andrew Exeter’s lighting and Angelo Alberto’s costumes combine in breathtaking ways, their stunning contrasts and diversity further enhancing the drama. Act One ‘s finale as snow falls magically over Havana on dancers performing in perfections of pristine white splendour, and journeys into the enchanted Kingdom of Sweets and through lush Cuban vegetation thrill beyond measure.
Opportunities abound for hosts of Acosta Danza dancers in perfect costumes to impress in the many exciting, dreamlike encounters. Striking, machete-wielding Nutcracker soldiers, clad in War of Independence Mambi uniforms, fight and defeat with fury and fine humour the (rather pretty and endearing) giant rats; three of the gods of Cuba’s African Yoruba ancestors come magically to life to dance as handsome, jerky automatons; in pristine white the Prince (Dani Hernandez) struts his stuff in highly traditional style with leaps, pirouettes and fine pas de deux with Clara and with Sugar Plum Fairy, Annette Delgado, while enthusiastic applause greets the superbly executed party-piece performances in the international dances: Leandro Fernandez and Edgar Quintero form incredible, interlocking, acrobatic shapes in their martial arts Chinese Dance; magnificent leaps with terrific, added shapings and claps come from Brandy Martinez’s Russian dancer, Spanish flavours burst from Melisa Mereda and Alexander Arias while Ofelia Rodriguez and Paul Brando bring sinuous, sensuous elegance and delicacy to their beautiful Arabian Dance.
Layer upon layer of perfection and tear-jerking beauty bring mesmerising whirlwinds of fun, fabulous humour and wow-factor spectacle, emphasising the supreme joie de vivre and richness of life that folk from poor countries can express and what a wealth of talent they possess.
Eileen Caiger Gray.
