Artistic Direction and Choreographed by Carlos Acosta
Scenography by Nina Dunn with Tyler Forward and Andrew Exeter
Review by Dominic Corr
While winter seems to be in the death-throws of a final bout of chill; a vibrant theatrical warmth fills The Festival Theatre Edinburgh as Carlos Acosta’s Nutcracker in Havana bursts onto the stage, a celebration of reinvention that reframes a familiar classic through the rhythms, colours, and cultural heartbeat of Cuba. This is a production that honours the bones of The Nutcracker while joyfully reshaping its flesh, infusing new dance vocabularies, musical textures, and visual storytelling that breathe fresh life into a tale audiences think they already know.
The story remains rooted in the journey of young Clara, here reimagined as a Havana child whose world is transformed on Nochebuena when her beloved nutcracker comes to life. The familiar arc unfolds, from the festive family gathering to the battle with the Rat King, and onward into a dreamscape of sugar spun fantasy. Yet the shift to Havana reframes every beat, replacing European snow with Caribbean heat, and classical ballet with a fusion of Afro Cuban movement, contemporary dance, and Acosta’s unmistakable choreographic signature. The narrative becomes not just a dream but a celebration of heritage, imagination, and the power of community.
Visually the production is a feast. Nina Dunn‘s designs conjure a Havana that is both real and mythic, a city of peeling pastel facades, glowing lanterns, and bustling street life. The scale is impressive; the stage often filled with sweeping ensemble movement that captures the energy of a city alive with music, though the reliance of projection does getting used to. The costuming by Angelo Alberto is a triumph, fabrics chosen for their vibrancy and flow, colours that pulse with the warmth of the Caribbean sun. The transformation scenes shimmer with theatrical magic, each costume change revealing new textures and cultural references that enrich the world building.
The Rat King’s appearance is one of the production’s most striking reinventions. Rather than a purely comic villain, this Rat King carries a swaggering menace, his movement vocabulary blending sharp isolations with animalistic sweeps that give him a predatory grace. The scale of the staging amplifies his presence, the ensemble swirling around him in tightly choreographed patterns that heighten the sense of danger. It is a sequence that showcases the company’s precision and Acosta’s flair for theatrical spectacle.
The troupe performances are consistently strong. The dancers of Acosta Danza bring a muscular lyricism to the choreography, their bodies moving with a fluidity that bridges classical technique and Cuban social dance. The Snowflakes become a flurry of white skirts and spiralling hips, the Flowers bloom in rhythmic waves, and the national dances are reimagined with cultural specificity that avoids caricature. The ensemble’s unity is remarkable, each dancer contributing to a collective energy that drives the production forward.
Yet the production is not without its imperfections. The pacing occasionally falters, particularly in the transition between the battle scene and the dream world, where the momentum dips before recovering. Some narrative beats feel rushed, as though the production is eager to reach its most visually ambitious moments. A few choreographic passages, though beautifully danced, linger longer than necessary in the second act, she starts to tread into a ‘best of’ montage; softening the emotional impact of the climax.
Still, the professionalism of the company is undeniable. The musical adaptation, blending Tchaikovsky’s iconic score with Cuban instrumentation, is handled with sensitivity, creating a sound world that feels both familiar and thrillingly new. The staging is bold, the imagery often breath-taking, and the commitment of the performers unwavering. Nutcracker in Havana stands as a joyous reimagining, a production that respects tradition while boldly carving its own path. In Edinburgh, the audience responds with delight, swept up in the colour, movement, and heart of a work that proves the enduring power of reinvention. This is a Nutcracker that dances to its own rhythm, and it is all the richer for it.
Dances to its Own Rhythm
Carlos Acosta’s Nutcracker in Havana runs at The Festival Theatre, Edinburgh until February 7th
Running time – Two hours with one interval
Photo credit: Tristram Kenton
Review by Dominic Corr (contact@corrblimey.uk)
Editor for Corr Blimey, and a freelance critic for Scottish publications, Dominic has been writing freelance for several established and respected publications such as BBC Radio Scotland, The List, The Scotsman, Edinburgh Festival Magazine, The Reviews Hub, In Their Own League, The Wee Review and Edinburgh Guide. As of 2023, he is a member of the Critic’s Award for Theatre Scotland (CATS) and a member of the UK Film Critics.
