Review: Nutcracker in Havana at Southbank Centre and on tour
The festive staple is spiced up with new Cuban flavours - and it's dazzling
The Nutcracker and the winter season are considered one of the most iconic pairings in the world of classical ballet, but when it comes to adapting a brand-new, cross-genre version of the household title, Cuban dance company Acosta Danza approaches the material completely afresh, swapping the picturesque White Christmas for the not-so-freezing festivities in Havana (the capital city, not to be confused with the Camila Cabello song, though both are based on a similar cultural background).
With Artistic Director and Choreographer Carlos Acosta at the helm, the setting is radically revitalised from what is traditionally perceived as ‘a Christmas Eve in dance’ - cold, snow and a grand mansion - to the sizzling scenes of pure energy and explosive fun. The story is largely familiar to most librettos, following young heroine Clara's (Adria Díaz, a wonderful, bubbly presence) wild imagination springing to life after having received a Nutcracker doll from her uncle and seeming magician Tío Elías Drosselmeyer (guest artist Alexander Verona, who commands the stage with stillness and authority).
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The element of storytelling is still prevalent less spoken dialogue - in its place are magnified gestures (a particularly animated performance from Raúl Reinoso as little brother Fritz) and movement-based slapstick, which, observed from up close, is not vastly different to the British pantomime (with an emphasis on the mime). Acosta's fierce choreography demonstrates both contrast and contextual awareness, opening with an energetic scene of rejoicing and evolving to a range of moods, fusing ballet duets (one between Adria Díaz and Alejandro Silva stood out for its gracefulness) and traditional techniques with contemporary styles such as hip-hop and even the crisp clicks of tap routines.
It's fascinating to consider an alternative perspective; journalist Diane Parkes notes in an interview with Acosta in the programme that Christmas has long been a banned tradition until circa 1998, let alone widely celebrated as popular culture; so to express the concept of cultural displacement to the audience, the magician was characterised as an estranged uncle bringing the magic from the West as presents, for example; though the story and background evolve from production to production as dance titles often do, one thing that remains consistent is the joy and cheer, unrestricted by the boundaries of language - something that always allows the art form to be universally accessible.
Part of the process of revisiting the material also involves changes to Tchaikovsky's score - while the melodies audiences know and love are retained and recorded by a 24-piece ensemble, Pepe Gavilondo and Yasel Muñoz's new orchestrations bring a refreshing new timbre with a Caribbean twist, using both traditional and contemporary instruments like the acoustic and electric guitars, the Cuban tres and flute plus a generous addition of synthesised instruments, uniquely complementing the fusion of genres in movement.
The company evidently takes pride in its dedicated work onstage and off - a heartwarming moment was had when the company audibly celebrated their final London performance at the Southbank Centre as the audience filed out of the auditorium - a testament to the impact artists carry on audiences with genuine passion for the work they do, long after the curtain falls and the final applause fades. It might not be the most lavish reimagining of the classic, but this energetic interpretation certainly makes a family delight for all seasons - just be dressed for indoor weather!
⭐ ⭐ ⭐ ⭐ (4*)
Nutcracker in Havana will continue its UK tour to Woking, Wolverhampton, Milton Keynes and Salford from 10 Jan, with further dates to be announced. For all dates and listings, visit the production website.
Note: All casting aforementioned is correct as of the reviewed performance. Performers and Guest Artists rotate by performance and casting is subject to change.
Tickets and Accessibility
🎟️ Tickets were kindly gifted by the press representatives for the show. All views remain my own, without any input or approval from the venue or producers. Due to the touring nature of the show, ticket prices vary by venue and begin from £15.
♾️ The show uses amplified music throughout which can be vary in volume at points dependent on seat location. At 31 mins into Act 1 there is a small pyro fired from a cannon prop downstage left, wheeled onto the stage from the wings by the ensemble and fires as soon as the cannon is in place. A bright flash and small noise, similar to the sound of a champagne cork popping, are produced.