Hampstead Theatre, London – until 12th March 2022

Reviewed by Celia Armand Smith

3***

The Forest is like a piece of paper that has been repeatedly folded and unfolded. No matter how hard you try, you can never fold it exactly the same, and the lines start to distort, changing the integrity of the paper itself.

Written by acclaimed French author Florian Zeller, translated by his collaborator Christopher Hampton, and directed by Jonathan Kent, The Forest is a tense exploration of infidelity, morals, and consequences of one’s actions. From early on in the play, you begin to realise that you may not quite have a handle on what is fantasy and what is reality after all. There is no guessing where the story will go.

The plot centres on a successful surgeon who begins to split in two as a result of guilt, infidelity, and murder. Man 1 is performed by Toby Stephens, Man 2 by Paul McGann; two fragmented sides to one character. As the story unfolds, folds, and unfolds once again, there are small changes in the characters and storyline. The play opens on Man 1 (Stephens) and his quietly supportive wife (Gina Mckee) comforting their daughter who has been cheated on by a boyfriend. The scene then flips to a room above where Man 2 (McGann) is in bed with the girlfriend (Angel Coulby). She wants what he will not give and give up. It is here where we see the beginnings of a spiral which will eventually lead to tragedy. The rest of the cast including Finbar Lynch as a surreal and sinister nightmarish figure (possibly the man’s conscience), provide a strong throughline when things begin to go awry. Gina McKee as the doting and supportive yet knowing wife brings an eerie stillness and quiet that is gradually amplified until the end when a crushing silence raises the hairs on your arms.

The atmospheric soundscape created by Isobel Waller-Bridge of a familiar monotone rumble of bad things to come, coupled with dramatic lighting designed by Hugh Vanstone creates a foreboding and sometimes startling backdrop for the action. Every element of this slick production was beautifully conceived and executed. The intimate and clever staging, created by Anna Fleischle consists of three rooms; the floral bedsit of the mistress, the living room the man shares with his wife, and a generic office that seems to be a space for therapy, some dodgy dealings, and friendly chats about infidelity and what an absolute nightmare it is. With every change of the retelling of the story, bouquets of flowers gradually take over the stage, reflecting the complete psychological breakdown of the main character. The final scenes see the flowers grotesquely spilling out of cupboards.

You don’t come away from this play with a cosy feeling that the story has been wrapped up in a little parcel. There is no ending, rather an unsettling pause that stays with you for hours after.

Theatre Royal, Nottingham – until 19th February 2022

Reviewed by Boo Wakefield

3***

In 1987 Fatal Attraction, the film, was a shocking, erotic thriller that put “bunny boiler” into our everyday language. Could this new stage production of the same story, albeit with the original ending and not the Hollywood version, still be as shocking, erotic and thrilling? Not quite.

For those of you who don’t know the original story, Dan is a stressed lawyer who is being pressured into moving out of New York by his wife, Beth, to live near her mother, a move he does not want. Whilst Beth is away house-hunting, Dan meets Alex in a bar and she seduces him. The one-night stand becomes two ending with the unhinged Alex cutting her wrists in an attempt to make Dan stay with her. Dan is then bombarded with endless calls and texts from Alex who stalks him at every opportunity. Eventually Dan is forced to confess to Beth when Alex kidnaps their daughter. This is made all the more hurtful for Beth as Dan has to confess that Alex is pregnant when Beth is desperate for another child.

Dearden and director Loveday Ingram have tried to pull Fatal Attraction into 2022 by using Facetime and texts between Dan and Beth but the use of the original script leaves it back in the 80s. References to “hot-blooded heterosexual American males” and that it’s ok for men to have affairs because “that’s how they are” make a confusing message in today’s world.

The clever use of projected images (Mogzi) on the L-shaped staging, the minimal props which were seamlessly moved on and off stage by the cast who were still in character whilst doing so, and the lighting (Jack Knowles) and sound (Carolyn Downing) all helped to tell the story and set the scenes effectively.

Individually, Kym Marsh (Alex Forrest) and Oliver Farnworth (Dan Gallagher) were believable in the two main characters. Marsh’s portrayal of the seductress spiralling into a mentally unbalanced state was convincing and disturbing. Farnworth, who was on stage almost from start to finish as well as narrating the gaps that needed filling, was admirable and energetic which is what this production needs. But the erotic, passionate connection they should have had was just not there, leaving the intimate scenes felling staged and choreographed.

It was obvious that the audience knew the story well as any reference to the “bunny” caused a stir even before it appeared on stage. It was still as shocking as ever.

Susie Amy who was to play Beth was replaced by understudy Emma Laird Criag for this performance.

New Wimbledon Theatre, London – until Saturday 19th February 2022

Reviewed by Amber Mills

5*****

WOW! This show was magnificent!

The energy from the whole cast was through the roof! I became lost in the action, and everything felt real. Every character in this show has a very bold personality that shone through to me as an audience member. For a person who’s never seen ‘The Addams Family’ before I understood the story line and believed these characters throughout.

I’ve never been to a show where the ensemble dancers are consistently full out throughout the performance. When each of them came onto that stage every movement was together, it was dynamic, meaningful, and full out with feeling. Each of their character’s personalities shone through which made this performance more chilling and powerful to watch.

The make-up and costumes last night were immaculate and very professional. The set on stage was impeccably detailed and was seamless when transforming scenes. There were some very clever set choices, which included the ensemble dancers. This for me had an added effect on that particular scene.

I also thought that the lighting design and smoke/haze for this show were simple but haunting and added a chilling effect when watching.

Even though every member of the cast was outstanding I feel that 3 people stood out to me. One of them was Dickon Gough who played ‘Lurch’. Every movement that he performed, he committed to with purpose. He’s a very understated character throughout the show but I feel he’s one of the most talented because to portray that scatty, unspoken but loyal character takes great skill. Every member of the audience laughed when he came on stage and personally I think he’s a terrific actor.

Matthew Ives who was playing Matador Ancestor has an exceptional stage presence. When all the ‘dead’ characters emerge at the start of Act 1, my eyes were drawn to him straight away for his bold character choices. For me, he took me on a journey and lured me into the magic.

Sario Solomon who played Ring Master Ancestor had exceptional facial expressions. For me, his dance ability shone through and every time there was a dance number he was very good at telling the story through his use of movement.

I loved the quirky choreography, as it just fitted the show perfectly and portrayed the message.

Overall this is a fun-filled, family production that is not to be missed.

NEW ADVENTURES ANNOUNCES THE RETURN OF

MATTHEW BOURNE’S GOTHIC ROMANCE

“SLEEPING BEAUTY”

10^th ANNIVERSARY PRODUCTION

OPENING ON 12 NOVEMBER 2022

AT THE THEATRE ROYAL PLYMOUTH

WITH A SEVEN WEEK CHRISTMAS SEASON

AT SADLER’S WELLS FROM 29 NOVEMBER 2022

DEVISED, DIRECTED AND CHOREOGRAPHED BY

MATTHEW BOURNE

MUSIC BY TCHAIKOVSKY

New Adventures is delighted to announce the return of Matthew Bourne’s gothic romance “SLEEPING BEAUTY”.

The UK tour opens at the Theatre Royal Plymouth on Saturday 12 November 2022 and runs until 19 November before visiting, The Lowry, Salford from 22 November to 26 November; ahead of a seven-week Christmas season at Sadler’s Wells, London from Tuesday 29 November to Sunday 15 January 2023. Further tour dates for 2023 and casting to be announced shortly.

Matthew Bourne’s “SLEEPING BEAUTY” reawakens in 2022, celebrating 10 years since its premiere at Sadlers Wells, when it became the fastest selling production in the company’s history.

Now established as a firm favourite in the New Adventures repertoire, the award-winning “SLEEPING BEAUTY” has enchanted international audiences throughout the UK and across the globe.

Matthew Bourne said today:

“Ten years ago, I fulfilled a long-held ambition to complete the trilogy of Tchaikovsky ballets following my Nutcracker! in 1992 and Swan Lake in 1995. It’s no secret that this particular ballet was a daunting task and one that I approached with trepidation. It did, however, turn out to be a richly rewarding experience with the entire creative team on glorious form and, in my opinion, it remains one of New Adventures greatest achievements. I look forward to new generations of dancers rising to the varied challenges of this much-loved production and bringing its magic back to audiences throughout the UK” 

Enter a wondrous world of magical fairies and vampires, where the timeless tale of good vs evil is turned upside-down, creating a supernatural love story that even the passage of time itself cannot hinder. Will Princess Aurora ever find her true love again?

With an unforgettable score by Tchaikovsky, sumptuous sets and costumes, evocative lighting and masterly storytelling, the beloved fairy tale is brought to life by the uniquely talented New Adventures company. Get ready to be transported in time from the halcyon days of the late Edwardian era through to the modern day in this dazzling gothic romance.

“SLEEPING BEAUTY” is directed and choreographed by Matthew Bourne working with his regular collaborators and New Adventures Associate Artists; Lez Brotherston (Set and Costumes), Paule Constable (Lighting) and Paul Groothuis (Sound Design).

Following the success of their collaboration for Nutcracker! New Adventures are thrilled to be continuing their partnership with Fortnum & Mason for Sleeping Beauty.

THE LOWRY, SALFORD – UNTIL 17 FEBRUARY 2022

REVIEWED BY ANGELOS SPANTIDEAS

3***

Private Lives takes on the love between two people that even though they have separated remains silently and quietly like an ember that at the right moment can become a raging fire that turns their lives upside down. Surely, as a concept it has been attempted numerous times but it still remains a timeless and massively entertaining idea, perfect for a romantic comedy for the big and small screen and even more igniting on stage.

The first Act starts with two couples on their honeymoon in adjacent hotel rooms that communicate easily through the balconies. A honeymoon very quickly interrupted as Amanda (Patricia Hodge) and Elyot (Nigel Havers) leave their spouses Victor (Dugald Bruce-Lockhart) and Sibyl (Natalie Walter), respectively, and elope to Amanda’s flat in Paris, to relieve their reignited love for each other. In the first half we see the relationship the two have with their spouses, but we also witness the passion that they still have for one another which explains why they would practically destroy their social status to relieve their love, hopefully more successfully this time.

The second Act finds the couple in Amanda’s gorgeously designed and thought to the last detail by the designer Simon Higlett, with the two realising that the reasons why they initially separated are still there, with the two jumping between passionate expressions of love to passionate fighting, that slowly escalate. The cherry on top is Victor and Sibyl, whom they are still married to show up at the flat and create a hilarious dynamic with back and forth bickering and teasing among all the characters.

This show is a definite comedy, designed with clever jokes, eloquent remarks that expand from plain insults and pauses that create an organically funny atmosphere. Although originally written for a younger couple, Patricia Hodge and Nigel Havers do an incredible job showing that love and passion do not have an expiration date and it was actually refreshing to see a more mature couple on stage behaving like lovestruck teenagers. That in combination with some clever jokes about indigestion or a pulled muscle accentuate the very talented rendition of the two roles and does not feel as reductive or superficial but rather authentic. Nevertheless, as the difficulty with bringing older plays to contemporary stages, the show does fall into some stereotypical depictions in terms of gender and race that occasionally hold it back from keeping up with today’s standards which can be slightly disappointing for an otherwise very beautifully thought out play.

Overall, Private Lives brings some very beautiful and certainly hilarious moments on stage, and is a definite choice for a night of amusing predicaments and romance with a cast that brings the characters to life

Seven Dials Theatre – until 19th March 2022

Reviewed by Emily Cliff

4****

Making its European debut at the cosy setting of the Seven Dials theatre hidden away in Soho, Steve is a charming and comedic production. A post-theatre kid dreamland, following the lives of a friendship group gripping onto their youth with an iron fist and refusing to acknowledge the fact that they’re growing old.

The stage set-up of this play is fantastic, a series of conversations over the span of a year in different restaurants cafes and classic new york apartments. Audience members can even be a part of the immersive set themselves with tables and chairs set up on stage. Simple images and videos were projected onto blank poster frames and basic furniture was used in such a way that each set felt completely different to the last whilst only changing one or two things.

The story itself follows the crumbling relationship and midlife crisis of couple Steven (David Ames) and Stephen (Joe Aaron) and how their friends deal with sex, open relationships and the devastating diagnosis of their dear friend Carrie (Jenna Russell). Filled with beautiful tributes through both music and staging to the late and great Stephen Sondheim, this play is a comforting escape for anyone who has used theatre as a means to escape before now. The characters all share a love for all things musical and broadway related and each of their eclectic personalities shine throughout the whole play.

Life is generally hard, and no matter what stage of life you’re in there will always be some new struggle or hurdle to get over. Steve takes this philosophy and wears it on its sleeve. Each of the characters is obviously going through some sort of midlife crisis however the story doesn’t take anything away from the characters. It is balanced in a beautifully chaotic mess that imitates the beauty of their lives and each complex storyline that followed.

Overall Steve was funny, sad and openly honest in all of the right places. Incredibly self-aware the touching story on navigating life, relationships and death in your forties is memorable and so beautifully, brutally honest and something that will stick with the viewer hours after watching.

CAST ANNOUNCED FOR

BRAND NEW BRITISH VEGAN MUSICAL – LITTLE SAUSAGE!

“But… don’t you miss bacon?”

Producer Tanya Truman is thrilled to announce the cast for Little Sausage; a new musical is coming to The Other Palace Studio in March 2022. Tickets for Little Sausage are on sale now!

Dan Bravo (he/him) will play Isaac, Owen Clayton (he/they) will play Junior / Dave / Ensemble and Joanna Clarke (she/her) will play Cassie / Elliot / Ensemble.

Tanya Truman, the producer of Little Sausage, said, “Coming from a performing background myself, I know how difficult it can be to get noticed for projects. As a producer, I am passionate about working with incredibly talented people. I work hard with my creative team to look at fresh talent instead of selective based on where they may have trained, what credits they have, or how many Instagram followers they have.

With Little Sausage being verbatim and 100% based on live interviews of people’s experiences with veganism, it was essential to find actors who were excellent multi rollers to embody these people as authentically as possible.”

Directed by Annabelle Hollingdale (From Here, Spring Awakening), Little Sausage is a new verbatim musical about the nation’s most controversial Sausage. It uses the real words of ‘real’ men to explore toxic masculinity, plant-based dating, and the game-changing Gregg’s vegan sausage roll.

Little Sausage is a new verbatim musical about the relationship between veganism and masculinity.  

Annabelle Hollingdale, director of Little Sausage, said, “Little Sausage is as zany as it is sincere and evocative as it is entertaining. As a director, I am most drawn to text seated in naturalism, and it doesn’t get more naturalistic than real words spoken by real people. As a vegan, I find this musical painfully and comically Indicative of conversions I have had and heard first hand, and I’m thrilled to be able to invite an audience to share in this.”

With music and lyrics by Joshua Fowley and book Deborah Vogt, Little Sausage follows a Yorkshire lad and how his relationship with friends and family changes during his journey from cheese addict to animal activist!

Tickets are available now via The Other Palace website.

Charing Cross Theatre – until: 26th March 2022

Reviewed by Eli King

5*****

Based on the novel by Khalil Gibran, Broken Wings has been adapted to the stage by limitlessly talented duo Nadim Namaan and Dana Al Fardan. After a sold-out run at the Theatre Royal, Haymarket followed by shows in Lebanon, Dubai and Doha, this striking musical returns to London for a run at the Charing Cross theatre.

Even after the release and success of the concept album and worldwide shows, this production is the first fully staged version of the musical, breathing a whole new life into the masterpiece. Though the set isn’t complex, it’s simply spectacular. Gregor Donnelly’s set design paired with Nic Farman’s lighting is a sight to behold, bringing the story to life with the most exquisite surroundings.

Directed by Bronagh Lagan, this small cast of only ten people tells the story of love and loss, but also of hope. The story of Broken Wings is incredibly poignant, covering heavy topics like immigration, arranged marriages, death, child mortality and more, all whilst still seeming hopeful, showing that through hardship there can still be life and love.

With such a small cast, each individual performer has their moments to shine, even the smallest of parts have their sections in the limelight. Nadim Namaan as Khalil Gibran and Soophia Foroughi as Mother are no stranger to the well-deserved limelight, with their awe-inspiring vocals and a presence that commands the stage, it’s a true joy to watch them onstage together. For Noah Sinigaglia and Ayesha Patel, as Selma Karamy and Dima Bawab respectively, this is their professional stage debut and what a way to do it. Both women are utterly entrancing. Ayesha lights up the stage with her portrayal of loyal, loving friend Dema, illuding to her playful personality whilst belting out notes that seasoned professionals would struggle with.

Noah is a true show stopper, the way that she brings to life the character of Selma is mesmerising, giving her the sweet naivete of a sheltered child at the beginning and climbing to the tearful traumatised wife she transpires to be, as soon as she steps onstage it’s hard to take your eyes off her.

At the beginning of the show, we are introduced to a 40year old Khalil Gibran by Nadim Namaan who acts like a narrator throughout the production, detailing the story of his one true love Selma, and the torment he still endures through losing her. As the story unfolds, Lucca is tasked with accurately portraying the young Gibran and he does it perfectly. He gives Gibran the boyishly handsome charm, with words that would melt the coldest of hearts, whilst still being a strong man willing to fight for what he loves.

Opposing Sinigaglia is Lucca Chadwick-Patel as a sweet, talented and young Khalil Gibran, powered by love – and sometimes blinded by it.

Every single member of the cast deserves their own praise, they are all sensational. With Yasmeen Audi starring as Layla Bawab, Haroun Al Jeddal as Mansour Bey Galib, Johan Munir as Bishop Bulos Galib and Stephen Rahman-Hughes as Farris Karamy. It must be noted that Alex Kais normally performs as the ensemble, however for the first few performances Benjamin Armstrong stepped in to perform the role, including press night. For someone with very little notice, Benjamin slotted in with the cast seamlessly, even acting as a stage hand frequently as the set changed, he is a joy to watch and I hope his career continues to blossom.

With the stage having audience members on either side of it, the actors were tasked with making sure that both sections of audience felt included, and that they didn’t have their back to them at all times. The way that the staging was used and maneuvered was a stroke of genius, with characters often being side on, or constantly moving to make sure that everyone could see and get immersed in the storyline. Because of this, it would be interesting to see the show from either side and if it differs.

The set itself has a very neutral colour palette, lending itself perfectly to be transformed by the warm and cool tones of the lighting to set the tone and highlight pieces of interest – it was a very smart move for such a small stage.

Nadim is a natural storyteller, delivering such passionate monologues and breathtakingly beautiful belts, he acts as the backbone of Broken Wings, often lurking in the shadows or sat writing in the corner, as if he is writing the very story we are watching transpire.

The story of Broken Wings is something incredibly important, it tells the tale of a young man flitting from Beirut to Boston, trying to find somewhere to call his home and struggling with customs in either country. It acknowledges that hometowns are not perfect, but will always have a special place in your heart, it is your identity.

The representation onstage is inspiring and should be the norm. This is a story for POC, told by such a diverse cast, it’s mesemerising and it is clear to see how much it means to both the actors and the audience. This includes the authentic staging and beautiful costuming, each outfit is stunning in its own right, helping to differentiate class and status, yet still ensuring it represents the culture of Beirut. In this production there isn’t a wig in sight, there is only styling of the actors natural hair which is amazing to see the celebration of styles and texture – instead of covering it up.

The whole musical is an emotionally moving masterpiece, with the revolving stage pulling you into their whirlwind romance before spitting you out as harsh reality hits, barely recovering by the finale song.

Every single song embodies love and passion with endless rivers of talent, yet three still stick with me, calling our like sirens. ‘Til Death Reunites Us’, ‘Spirit of the Earth‘ and ‘Rescue Me are’ all incredible tear-jerking ballads that leave you breathless, yet wanting more. As Spirit of the Earth returns for the finale with a full cast, you can feel the drums in your chest and emotions filling the air, it’s truly breathtaking.

This story has so many layers of importance and meaning, it’s impossible to put it into words, but it’s essential that it be told.

Runaway Entertainment presents

2:22 – A GHOST STORY

The hit play by Danny Robins

Directed by Matthew Dunster

@222AGhostStory #222AGhostStory

• 
  SMASH HIT 2.22 – A GHOST STORY WILL TRANSFER TO THE CRITERION THEATRE FOR A STRICTLY LIMITED THIRD SEASON OF 17.5 WEEKS FROM 7 MAY 2022
  
   
• FOLLOWING ITS PREMIERE AT THE NOEL COWARD THEATRE IN THE SUMMER LAST YEAR, THE PRODUCTION MOVED TO THE GIELGUD THEATRE IN DECEMBER 2021, ITS RUN THERE CAME TO AN END ON 12 FEBRUARY

• THE PRODUCTION IS DIRECTED BY MATTHEW DUNSTER AND WRITTEN BY AWARD-WINNING WRITER DANNY ROBINS
  
   
• CAST FOR THE CRITERION THEATRE WILL BE ANNOUNCED SOON
   
• TICKETS FOR THE CRITERION THEATRE ARE ON SALE FROM 12NOON ON 16 FEBRUARY FROM WWW.222AGHOSTSTORY.COM

Producer Runaway Entertainment is delighted to announce that the critically acclaimed, smash hit, supernatural thriller 2:22 – A Ghost Story will transfer for a second time to The Criterion Theatre where it will play a 17.5 week season opening on 7 May 2022. The production began its life last summer at the Noel Coward Theatre starring Lily Allen, Julia Chan, Hadley Fraser and Jake Wood. It then transferred to the Gielgud Theatre for 10 weeks from 4 December 2021. The production there starring Stephanie Beatriz, James Buckley, Elliot Cowan and Giovanna Fletcher completed its run on 12 February 2022. The cast for the transfer to the Criterion Theatre will be announced soon. 

“A great spine-tingling night out!” Evening Standard

The West End theatre event of the year will return this summer by popular demand.

“It’s happening again…”

Following two record-breaking seasons at the Noel Coward and Gielgud Theatre with a host of acclaimed star performances, this edge-of-your-seat, supernatural thriller returns once again for a brand-new limited engagement at the Criterion Theatre.

2:22 is written by award-winning writer Danny Robins, creator of the hit BBC podcast The Battersea Poltergeist, and is directed by Matthew Dunster. Look out for the clues to unlock the mystery in this brilliantly funny and intriguing play; it’s an adrenaline-filled night where secrets emerge and ghosts may or may not appear…

Danny Robins said: “I’m so damn thrilled that the 2:22 – A Ghost Story journey gets to continue. The response to the play so far has blown me away. Since I was a kid I’ve been obsessed by ghost stories, and I’m so glad that theatre audiences seem to feel the same way. My aim, writing the play, was to create a fun, spooky, thought-provoking night out, a show that leaves you buzzing, on the edge of your seat, questioning what you believe. If you haven’t seen it yet, I hope you’ll come down to the Criterion and see what you believe… if you dare!”

Matthew Dunster said: “This feels like an extraordinary journey for a new play. It sounds like an obvious thing to say, but even in this crazy time we’re living through, people really seem to want to see this show. Sell out runs with two exciting and surprising casts at two West End theatres; and now a run to look forward to at The Criterion where there’ll be more more surprises and more excitement. I just feel terrifically proud of Danny and all the team. And really grateful to the Up For It audiences who have been coming along.”

What do you believe? And do you dare discover the truth?

“THERE’S SOMETHING IN OUR HOUSE. I HEAR IT EVERY NIGHT, AT THE SAME TIME”

Jenny believes her new home is haunted, but her husband Sam isn’t having any of it. They argue with their first dinner guests, old friend Lauren and new partner Ben. Can the dead really walk again? Belief and scepticism clash, but something feels strange and frightening, and that something is getting closer, so they’re going to stay up… until 2:22… and then they’ll know.

“A slick, chilling, romp of a play” The Guardian

2:22 – A Ghost Story features set design by Anna Fleischle, costume design by Cindy Lin, lighting design by Lucy Carter, sound by Ian Dickinson for Autograph Sound, casting by Jessica Ronane CDG and illusions by Chris Fisher, co-direction by Isabel Marr.

2:22 – A Ghost Story is produced by Tristan Baker and Charlie Parsons for Runaway Entertainment, Isobel David and Kater Gordon. 

Royal Concert Hall Nottingham – 15 & 16 February 2022 

Reviewed by Louise Ford

5*****

What a wonderful way to spend a cold and wet February evening, in the company of some of the brightest and most talented dancers from Cuba.

I have not seen many Contemporary dance shows so I was not sure what to expect. It was a glorious fusion of classic ballet poise and stance with modern energy, rhythm and power. The music is also a mixture of strong beats and tempos and compliments the choreography perfectly.

The show in Nottingham is the first stop after a run at Sadlers Wells in London, on a nationwide tour. Acosta Danza was founded in Havana in 2016 by Carlos Acosta to develop young talent and to showcase Cuban performers. Which it does perfectly in this show.
100% Cubano is five different pieces; a solo, a duet and three ensemble pieces. They are all different and distinct but are linked by the same powerful energy and pared back sets. 

The show features UK premieres from three exciting young Cuban choreographers – Hybrid by Norge Cedeno Raffo, Liberto by Raúl Reinoso and De Punta a Cabo by Alexis Fernandez . Also in the program; are two big hits from the 2020 UK tour – Paysage, soudain, la nuit by Sweden’s Pontus Lidberg and Impronta created for Acosta Danza by Spanish choreographer Maria Rovira. All of the pieces draw on the melting pot that is Cuba, from the African and Spanish roots to the modern day Havana waterfront. 

Whilst all of the pieces are mesmerising the stand out piece for me was Impronta, an amazing solo performance by Zeleidy Crespo. Her presence, her undulating back and arms, the sheer magnificence of her movements in a swirling turquoise dress perfectly illuminated in a single spotlight is incredibly powerful. The final piece De Punta a Cabo is a true Havana party of young people enjoying the freedom of the Malecon waterfront. There is a mixture of dance styles which culminates in the ensemble striped down to their pants, celebrating the full range of beautiful bodies and ethnic mixes, that is Cuba today. The audience and the cast were on their feet at the end clapping and smiling at such a wonderful sight.