Sheffield Lyceum – until Saturday 10 January 2026
Reviewed by Sharon Farley
5*****
Carlos Acosta’s Nutcracker in Havana is an inspired fusion of Latin and European culture, but also of traditional and modern theatrical technique. From the outset, we are transported to La Habana via the use of video and projections as part of the set created by award-winning designer Nina Dunn (Lazuli Sky, The Damned United, Don Quixote). Blending contemporary presentation with classical performances works to embellish well-established stage productions with a vibrant and compelling visual feast that is truly mesmerising, and this example is an astounding display of what can be achieved. The capacity to present otherwise unobtainable perspectives as well as the scope and variety of landscapes is fully exploited here by Dunn, bringing everything from the deepest jungle to snow in La Habana.
In addition, the familiar score has been re-arranged by composer Pepe Gavilondo Peón to include Cuban rhythms, which brilliantly turns up the energy without diminishing the beauty of Tchaikovsky’s original work. Its tempo is a fitting accompaniment to the phenomenal athleticism of the performers; Acosta Danza are joined by several guest artists in this performance and not only provide a level of energy to compete with any cinematic event, but also veil their obvious strength with all the supreme grace and elegance a night at the ballet has ever promised. There is a dizzying range of technique and style throughout, perfectly creating the mood and narrative for every scene, be it the raucous joy of a family reunion or the cultivated refinement of a palace ball. Particularly memorable performances are given by the dolls Oshun, Chango and Soldadito, played respectively by Carolina Monteagudo, Paul Brando and Alexander Arias with masterful control of movement. Also notable throughout was the performance of Brandy Martinez, whose energetic interpretations of both Fritz and the Russian dancer are breathtaking. Of course, the combination of strength and featherlight grace are embodied by the performance of the piece’s Sugar Plum Fairy, here performed flawlessly by Annette Delgado.
A thoroughly dignified performance of the magician, Tío Elías Drosselmeyer, is given by Alexander Verona (Push, Still Current, Flux), as his character orchestrates the myriad of events. His costume brings all the sparkle of the Christmas season, setting the bar for the spectacular variety of costume design across all the characters; undoubtedly a feather in the cap for costume designer Angelo Alberto.
On reading the programme, we learn how the whole production is infused with symbolism honouring the history and life of Acosta’s native Cuba; the performance is truly an homage to the resilience of the island’s population, where Christmas has been quite a recent addition to their calendar, added thanks to the visit from Pope Jean Paul II in 1998. Other curious elements revolve around the use of the maypole, which Acosta tells us was introduced to Cuba by the British in 1880 and enjoyed by enslaved people on the rare occasion they were allowed opportunities to dance. Also, the design of the hats worn by the Mambises in the ‘battle scene’ are representative of those worn by those who fought for independence from the Spanish for 30 years.
All in all, this production is a thrilling kaleidoscope of colour, magic and joy underpinned by an outstanding creative edge. Although some might question the jarring imagery of a white prince in the midst of such a fabulously diverse cast, it is a minor point that cannot be permitted to detract from an absolutely spectacular performance. Definitely one not to be missed on its current UK tour.