Congratulations to the Wolverhampton Grand on being the only Midland theatre to be included in Carlos Acosta’s stunning ‘Nutcracker in Havana’ tour. Press night was certainly a very happy place to be last night.
This Nutcracker is the nutcracker story mostly as we know it – but with a vibrant and soulful Cuban take which had me smiling in joy at the magical storytelling and gasping in awe at the exquisite dancing from Acosta’s committed and talented Acosta Danza company.
The tour is a co-production from the Norwich Theatre which under CEO Stephen Crocker, (who is also creative producer of the show) is a welcome new producing house and Valid Productions who always work closely with Carlos Acosta.
Credit: Johan PerssonRather than starting in a traditional Victorian grand home, Acosta opens this version at a Christmas Eve party in a humble wooden-floored palm-thatched Cuban home. This all changes to colonial grandeur when magician – ‘Uncle’ Tio Elias Drosselmeyer – transforms everything with a few waves of his wand. He brings with him three life-sized dolls – Chango who carries an axe, the yellow dressed Oshun and a traditional tin soldier. Together they represent a unique multicultural fusion of classic characters and provide humour as they dance in their doll-like way.
The magician gives all the party goers a pair of traditional ‘chancleta’ – Cuban clogs – which they don to perform a sort of cross between an Irish tap dance and a flamenco – either way it’s splendid. Among the abundance of good things in act one is a dazzling Maypole dance and an awesome battle between giant rats and toy soldiers.
Credit: Johan PerssonUncle Drosselmeyer gives Clara a toy Nutcracker as a gift which, whilst the house sleeps, comes to life as a Prince and transports Clara, via a magical Dance of the Snow Flakes, to the Kingdom of Sweets, which is set in a Cuban jazz club. Whilst Clara watches, dancers perform some classic duets, such as the Waltz of the Flowers, Russian Cosacks and Arabian Dance. The sedances are delightful in their virtuosity and the Cuban rhythms bring a whole new perspective to the movements. This is not to say Acosta has abandoned classical ballet; it’s all still there – complete with pointe shoes, grande jetes and tutu’s – but with a delightful playfulness and sense of joy.
Pepe Gavilondo Peon and Yasel Munoz have composed a Cuban-influenced version of Tchaikovsky’s original ballet music, adding salsa and Mambo rhythms through the use of guitars, drums and brass instruments. The Trombone in the classic Pas de Deux between the Sugar Plum Fairy and the Prince is stunning in its jazz-inspired simplicity – I hope I can obtain a copy of this wonderful soundtrack. Nina Dunn for Pixellus has designed a sensational video and projection set which is worth your ticket money on its own before a step is danced. Andrew Exeter’s lighting design is as colourful as it is dazzling and Angelo Aberto’s costumery completes a glorious kaleidoscope.
Credit: Johan PerssonIt is choreographed and directed of course by the magnificently talented Senor Carlos Acosta and if you’ve missed it at The Grand, I urge you to catch his wonderful work with his equally wonderful company somewhere else on the tour.
*****
