Review of ‘Nutcracker in Havana’: “Fuerza latina galore, but milder in sabor”

Tchaikovsky’s holiday classic relives on the Southbank Centre stage through this Caribbean-flavoured revision put together by Carlos Acosta. Guillermo Nazara shares his views on the show, to let us know if its toying with the iconic original turns out to be a sugar plum assignment.

I know what you’re thinking – just as I know everything you do… Nah, I’m just messing with you. And even if I did, you don’t have anything to hide, anyhow… But focusing on today’s show, I’m aware of how you’re feeling. You’re a hardcore balletomane. You love Tchaikovsky (he doesn’t love you back, though, he told me), and you’re just anxious to know if your favourite Christmas piece has been butchered by Carlos Acosta’s revisionist concept, wiping out the wintry allure of Tsarist Russia in exchange for the offbeat warmth of a fantasized Cuba.

Well, you can leave all those concerns aside for the time being, because as much as a place in our hearts is reserved for the incomparable brilliance of the piece’s original form, there’s always some room to spare when it comes to new, interesting ways of approaching a classic that’s almost achieved the level of institution. And when talking about reinterpreting the oldies (you’re next in line), it’s hard to think of anything that could bring more pizzazz and piquancy than a modernized rescoring sprinkled with a few spices from the Caribbean sound vault – or for that mater, even to love more than that. The question, however, is if the people behind its funky rebirth share the same degree of enthusiasm.

Nutcracker In Havana is, in all honesty, a triumph of ideas. It’s a marvelous notion that, if properly implemented, would not be far from rising as a fair rival to its predecessor. Yet, that accomplishment is sadly far from materializing – at least, as of now, since its current incarnation is able to hint the intention, but not follow through with enough coherence. There are, of course, several solid elements to praise, but in a very similar amount, too many other components leave us with a feeling of unfulfillment and insipidness.

Following Tchaikovsky’s repertoire with precise faithfulness, its Cuban folk-themed arrangements bring a new layer of colour and emotion to the piece. It preserves the basis of the source material, but it also delivers an additional set of textures – in some manner, amplifying its richness, and providing the work with a whole different (though correlated) meaning and finish; reminiscent, in style, of Bernstein’s Puerto Rico-evoking music for West Side Story.

The problem arises when those attempts continue to halt themselves instead of exploring its full potential. On too many occasions, it’s still sounds way too close to the initial orchestrations – somehow projecting a feeling of timidness about their own premise. One may argue that that’s been done on purpose to create a duality between old and new – and that’s a motive I’m willing to buy. But the fact that the entire score is prerecorded, with no live music performance whatsoever, is a completely different story.

Touring productions can never be expected to have the same standards as permanent ones – especially when the montage is to be running at a venue for only one week. In that regard, its design does a fair job at conveying spectacularity with very few resources, relying on a couple of tasseled gauzes and video projection on the front and backdrop. Yet, neither the video work or lighting (credit to Nina Dunn and Andrew Exeter, respectively) seem to really do the trick – unable to distract us from the thought that, perhaps, something more simple and imaginative would have probably led to a much more satisfactory outcome; and in that respect, more theatrical, too.

Nonetheless, the troupe is able to make up for all these flaws to a remarkable extent – basically because there’s nothing but excellence pouring through their utterly spotless renditions. Flaunting electrifying energy, astounding coordination and, in the end, exemplary technique, the corps sets the piece to the most exhilarating motion through a perfect blend of classical and modern dance resources – bringing the best of both worlds to, eventually, elevate the work into a new, galvanizing dimension. Among them, the highest praise goes to Yasiel Hodelin Bello as the Prince, thanks to his imposing precision and superb stamina, as well as Laura Rodriguez as Clara, underlining the petite charm of her character through a generally unblemished portrayal.

Some tries fail, some others come through – but what gives significance to them is the amount of belief put into them. Nutcracker In Havana is by no means a failure, but it’s still hasn’t used all of its tools to become the success it could be. There’s no need for opulence when the cast can take care of the wow factor (especially, in this case), but it’s crucial not to expose any weaknesses that may contribute to deflate its quality look. It is a tale of wonder, and we know for a fact that magic is an illusion – but anything behind it must come as real.

All pictures credit to Johan Persson.

Nutcracker in Havana plays at London’s Southbank Centre until 15 December before continuing its tour around the UK. Tickets for the London run are available on the following link.

By Guillermo Nazara