Composer: Peter Ilyich Tchaikovsky re-composed by Pepe Gavilondo Peon
Choreographer: Carlos Acosta
This vibrant show balletically moves ETA Hoffman’s 1816 story to Havana and makes it feel as rich as ever but also very fresh. We’re in an ordinary Cuban home, rather than a grand mansion, where a modern family and friends are joyfully celebrating Christmas, a treat forbidden to them during the Fidel Castro years.
The children jostle for their presents, and we watch charismatic Drosselmeyer, aka Uncle Elias (Alexander Verona), visiting from Miami, take charge by weaving spells. And while all this is going on, we listen, entranced, to Pepe Gavilondo Peon’s exciting take on some of the best-known and loved classical music ever written.
Even the most die-hard traditionalist would be hard put to resist the rhythmic thrill of this re-orchestrated score, which uses steel pans, guitar, piano, lots of Cuban percussion along with the standard orchestral instruments used in new ways. The big tune for the duet in Act Two, for example, goes to trombone with slinky glissandi.
Peon uses, to interesting effect, a lot more choir than Tchaikovsky did, too. Just occasionally, it becomes too fussy: the Sugar Plum Fairy music was originally scored for celesta and bass clarinet, and it’s the simplicity which made it work. If you clutter it up, you lose the magic. But generally, Peon’s score is a delight.
So is the dancing on stage. Carlos Acosta often choreographs traditional ballet steps in new ways, especially in the set pieces in Act 2 when Clara (Laura Rodriguez) has fallen asleep and is whisked off by her Nutcracker Prince (Yasiel Hodelin Bello) to the kingdom of sweets. The Chinese dance, for instance, is given to two male dancers in combat, somersaulting at high speed under each other’s arms with astonishing muscularity, and it’s a show-stopper. Of course, if you work with pre-recorded music, there will be moments when a dancer, for whatever reason, misses or anticipates a beat and simply has to readjust because the music is “fixed”. This accomplished company knows exactly how to deal with that, and it happens only infrequently.
The show is warmly enhanced by Nina Dunn’s (for PixelLux) set and video design, which includes moving Havana street scenes and lots of unfolding colourful mystery in the transition into Clara’s dream.
It really isn’t Christmas without a decent Nutcracker, is it? This one ticks most of the boxes for 2024. Acosta has even made it snow in Havana.
Runs until 15 December and continues to tour
The Reviews Hub Score
Cuban Christmas charisma
