Director & Choreographer: Carlos Acosta
It’s a long way from Havana to St Petersburg, and a considerable cultural distance lies between 19th century Russian romanticism and 20th century Cuba, but Carlos Acosta’s Nutcracker in Havana blends these worlds with panache and originality.
The familiar tale of Clara, usually depicted as the privileged child of a well-to-do household, and her nutcracker doll, is transposed here to a modest family home in Havana. A Christmas party is underway, with a rather scruffy Christmas tree in the background, in a setting of sunlit wooden structures – palm trees overhead, heat and dust in the air. Christmas (and indeed religion) was forbidden in the communist Cuba of Carlos Acosta’s childhood, but throughout his Nutcracker he interweaves the familiar western festivities with the island’s own blend of Catholicism and African spirituality. The concept is intricately thought out and brought to life by Acosta as Artistic Director and Choreographer and is obviously a very personal tribute to his heritage.
The music in this Nutcracker is recognisably Tchaikovsky’s throughout, but although the Overture begins with the traditional orchestration, it’s quickly apparent that there’s a twist. Interwoven with the well-loved score, composers and arrangers Pepe Gavilondo Peón and Yasel Muňoz employ traditional Cuban rhythms and percussion, along with acoustic and electric guitars, to enhance the sense of place. Sadly it’s a recorded soundtrack rather than live musicians, but it works particularly well in scenes of sheer celebration such as the clog dance in Act 1, when all the company don traditional Cuban chancletas (wooden soles held in place by strips of tyre rubber) for a riotous dance around a maypole.
Clara’s uncle Tio Elias Drosselmeyer arrives at the party in a vintage Chevrolet Corvette, bringing gifts and glamour from his life in Miami. Alexander Varona’s performance has charm and elegance, and this uncle is more benevolent than the rather scary magician sometimes portrayed. He has plenty of tricks up his sleeve, however, including some amazing life-sized mechanical dolls, and of course the soldier nutcracker doll that will transform into Clara’s prince.
Throughout, the versatile Acosta Danza company showcase their athleticism and skill in comedy and lyricism alike. Act II takes us to the Land of the Sweets and a snowy mountain vista, but there’s still lots of colour and warmth from the increasingly jazzy orchestration. Clara is entertained by a procession of dances with different national flavours. Particularly impressive were the stunningly sensuous and acrobatic Arabian dancers (Amisaday Naara and Paul Brando), and the martial arts themed Chinese Dance. The irrepressible Clara is itching to join in and has her big chance when she gets everyone in clogs again for another party around the maypole. The Sugar Plum Fairy (a supremely elegant Anette Delgado) and Prince (Dani Hernandez) provide the festive sparkle in Clara’s fabulous dream.
The final moments find Clara waking at home and being led off to bed by the adults, before a last magical flourish recalls her adventures in the Land of Sweets. Sultry and playful, this Nutcracker has a delightful, childlike innocence at heart (embodied by Thalía Cardín’s spirited Clara), and it warmed the cockles on a dreich Edinburgh evening.
Runs until 4 February 2026| Image: Contributed
