As a dancer, Carlos Acosta had a generosity in the way he welcomed audiences into his world, exuding warmth and engagement. In creating Nutcracker in Havana, a reimagining of a Christmas classic in a Cuban mode, he reveals exactly the same spirit. This new production is as sunny and relaxing as a day on a beach. With added snow.
Premiering in the Norwich theatre that has co-produced this tour by Acosta Danza and guests, the show immediately whisks you (courtesy of designer Nina Dunn’s videos) on an aerial tour of the capital and out through lush vegetation to a farm where an extended family are happily partying. The Drosselmeyer figure is Uncle Elias, returned from Miami, and played with a sparkling waistcoat and relaxed charisma by the wonderful Alexander Varona. He has a vintage Chevrolet that drives itself, and his magic tricks provide the partygoers with bright clothes, a bigger tree and a grand staircase.
It’s all a long way from bourgeoise Germany, yet Nutcracker in Havana keeps the shape of the traditional story while adding layers of energetic pizzazz. The key to its success lies in Pepe Gavilondo’s Latin rearrangement of Tchaikovsky’s score, full of blowsy horns and syncopated rhythms. The choreography is the same blend of the classical – rosy-pink flowers waltzing on pointe; a complete Sugar Plum variation (danced with airy insouciance and confident fish dives by the guesting Laurretta Summerscales) – with Cuban and even some contemporary moves.
Martial art-style ducking and diving provides showstopping dance for Leandro Fernández and Brandy Martínez in the second-act Land of Sweets; a clog dance in sandals appears twice and once – oddly – a maypole.
It’s not always entirely coherent, but it is consistent fun, powered not only by its own innate good humour but by Laura Rodríguez’s smiling Clara, enjoying her dream just as much as the audience. I am not a Nutcracker fan, but this version kept me happy from beginning to end. It’s short and very, very sweet.
