Carlos Acosta's Nutcracker in Havana

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Acosta Danza Nutcracker in Havana The Lowry, 27 Jan 2025, 19:30

Carlos Acosta's Nutcracker in Havana had been promoted as a reimagining of Ivanov's ballet.  That filled me with trepidation as I negotiated Manchester's rush hour traffic because reworking a well-known and well-loved ballet is not easy to do.  David Dawson pulled it off with his Swan Lake for Scottish Ballet as did Ted Brandsen with his Coppelia but I regret that I can't say the same for David Nixon's Swan Lake or the Coppelia of Morgann Runacre-Temple and Jessica Wright.

Although the show started with projections of Havana and an ancient American convertible lumbering across the stage Nutcracker in Havana was not so very different from any other Nutcracker. While the Stahlbaums' Christmas party was set in Havana and the score was orchestrated with Latin American rhythms and harmonies using a lot of percussion and such instruments as the Cuban tres and lute, the story was followed faithfully even down to the snow scene and the children's choir. All the characters were recognizable and the choreography retained such highlights as Sugar Plum's pas de deux with her prince.

The Sugar Plum Fairy in this production was Laura Rodríguez a former principal of Camaguey Ballet,  She was partnered by Alejandro Silva, a former principal of the Cuban National Ballet.  The ballet revolves around the adventures of Clara and Drosselmeyer.  Clara was danced with vivacity and charm by Adria Dia. Drosselmeyer, who was referred to as Tío or Uncle Elías Drosselmeyer in the cast list, was danced by Alexander Verona.  According to the programme notes he had made his way to Miami 30 years earlier where he acquired his fortune.  He performed some spectacular conjuring tricks and it was those tricks that impressed one member of the audience who was otherwise critical of the show.

 

Brandy Martinez was Clara's naughty little brother Frirz who could not keep his fingers off her Christmas present.   He also took part in a very athletic Russian dance in Act II.  Denzel Francis was King Rat, Clara's grandfather, a cook and one of the very energetic and almost aggressive dancers in the Chinese dance.   The other dancer in that divertissement was Leandro Fernandez who was also one of the children.  Everyone in the show danced well and if I were to mention everyone who impressed me this review would look like a telephone directory.

I enjoyed the show and so it seemed did most of the audience who rewarded the cast with a standing ovation. Much of the success should be attributed to Nina Dunn's set designs and projections, Angelo Alberto's costumes and Pepe Gavilondo Péon's arrangements of the score.

I had previously seen Acosta Danza's 100% Cuban in 2022.  That was a mixed bill.  Staging a full-length classical ballet is a more complex proposition. It demonstrates how much the company has developed in the last three years.  Their UK base is the Acosta Dance Centre in Woolwich which I visited in 2023.  Though they are a Cuban company they are contributing much to dance and dance education in this country.  

The Other Christmas Carol

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Finnish National Ballet A Christmas Carol YouTube Arte Concert 23 Dec 2024

In this country, we hear much about the Royal Danish Ballet and the Royal Swedish Ballet, but not much about their neighbours across the Gulf of Bothnia.  One of the artists I saw on my recent visit to Tallinn was Francesca Loi who danced Cinders's stepmother in Cristiano Principato's Cinderella.  I looked her up and found that she was with the Finnish National Ballet.  I explored her company's website and discovered it was founded just over 100 years ago.  It performs in a beautiful modern opera house.  It has a very interesting repertoire and its Artistic Director is Javier Torres,  Mr Principato, a soloist with the Estonian Ballet, has urged me to break my journey in Helsinki and watch the Finnish National Ballet on stage the next time I am in his area. 

One of its productions that I would love to have seen is David Bintley's A Christmas Carol.  It was performed in Helsinki between 30 Nov and 30 Dec 2024.  The next best thing to a live performance is watching them on TV.  That has just become possible because a recording of their performance will be hosted on Arte Concdert's YouTube channel until 27 Feb 2925.  I watched the video last night less than a month after seeing Northern Ballet's production at the Leeds Grand Theatre.  As I said in A Christmas Carol - A Reflection of a Golden Age 19 J\n 2025, Northern Ballet's production is one of my favourite ballets.  It is impossible to compare a video with a work on stage but if I could see Bentley's work in a theatre I believe I would admire it just as much.

Apart from the similarities that are to be expected in a ballet that is inspired by the same novella and shares the same leading characters Bintley's ballet is quite different from Gable and Moriconi's.  The score is by Sally Beamish who also wrote the music for David Bintley's The Tempest and David Nixon's The Little Mermaid.  I described her score for The Tempest as "enchanting" in my review of that ballet and I think her score for The Little Mermaid is one of the reasons for my headline Nixon's Little Mermaid - Perhaps His Best Work Yet in my review of Nixon's work.  Beamish discusses her score for A Christmas Carol in From a Sinister Atmosphere to Joyful Christmas Sounds.  The sets, costumes and projection design were by Anna Fleischle and some of the scenes were arresting.  The Christmas Yet To Come scene was literally spine-chilling even on a flat-screen telly.  Mark Henderson designed the lighting which was mood-changing even in the recording and would have been even more so in the theatre,

Bentley followed Dickens's story faithfully but he introduced some additional scenes such as Ali Baba, Long John Silver and Dox Quixote from Scrooge's childhood imaginings.  In his flashbacks to Scrooge's childhood and youth, Bintely explains how Scrooge developed as he did.  Something that I never fully appreciated from the original text.  Bimntley weaves in interesting new characters like three Jack Tars who are introduced by Tiny Tim's "I Saw Three Ships,"   Bintley's divertissements are often the strongest features of his ballets and they certainly distinguished this ballet.

In the film, Paul Murphy of Birmingham Royal Ballet conducted the Finnish National Opera Orchestra but I think Aku Sorensen directed them most other nights,  Scrooge was danced by Johan Pakkanen, Young Scrooge by Martin Nudo, Belle by Abigail Sheppard, Bob Cratchit by Frans Valkama and Tiny Tim by Janne Kouhia. I surmise that he is a student at the National Opera and Ballet School.  He discharged a very demanding role for a young artist with flair.  It included singing the first lines of a traditional English carol and calling for a blessing in a foreign language,  No doubt that is why he warned one of the loudest cheers at the curtain call. 

I strongly recommend this recording to my readers and I hope that the powers that be will bring this interesting company to London one of these days. There are some great photos and videos on the National Ballet's website including a short talk by Bintley.  Bintley comes from the next village but one from mine in the Holme Valley and I have twice had the pleasure of meeting him at the London Ballet Circle.  I was a frequent visitor to the Hippodrome when he was the Birmingham Royal Ballet's Director, and I am probably one of his biggest fans.

Powerhouse Ballet on a Roll

The Cast of Elysian Moments at ChromaQ Theatre, Leeds 23 Nov 2024

 

Last year was Powerhouse Ballet's best ever.  We danced an extract from La Sylphide at KNT Danceworks' 15th-anniversary gala in July and contributed Emily Joy Smith Elysian Moments to Dance Studio Leeds's Celebration of Dance at ChromaQ Theatre in Leeds in November.  

We have now performed nine times in public, twice at the Manchester Dancehouse, 6 times at ChromaQ and once at York St John University.  We have held workshops on The Waltz of the Flowers with Jane Tucker,  The Fairy Variations with  Beth Meadway, Alex Hallas's Concerto Jenkins and Morning from Grieg's Peer Gynt with Yvonne Charlton,  We have hosted Ballet Cymru's workshops on Dylan Thomas and Giselle.  We have held company classes almost every month since we started including during the lockdown when we welcomed Maria Chugai, Shannon Lilly and Krystal Lowe as guest ballet mistresses.

Our next step is to hold our own show which will probably be a mixed bill or a complete act of one of the romantic ballets we have learned.   We shall probably need to do this in conjunction with one or more partners which could be a dance studio or even another small company.   That will require a lot of planning and corporate reorganization.   Right now the company is a group of friends who enjoy dancing but we shall put it on a more formal basis in the course of the year.   I am exploring the possibility of charitable status for the company and converting Terpsichore into a private limited company.

Up to now, the company has relied entirely on sponsorship.  That source of funding will not dry up but we need to supplement it with a Friends scheme whereby we shall invite the company's members and well-wishers around the country to make a modest annual contribution.  We shall also need to monetize some of our services which will include smartening the appearance of this blog, publishing a regular print version, reviving Stage Door and charging for workshops and some of our other activities.

In the longer term, we shall seek grant funding and commercial sponsorship.  I have already made contact with Arts Council England and the Arts Council of Wales.  While it is impractical to expect funding from that quarter in the medium term it is never too early to prepare the ground.   I have also put out feelers to organizations that already fund the arts to find out what we must do to qualify for their patronage.

Dancers need to train regularly with each other which is why every company in the world holds regular company classes.  However, our membership is spread over an area that stretches from Hull to Holyhead.  It is very difficult for members who have demanding professional and domestic commitments to travel long distances.  When I have tried to hold classes in outlying areas in venues like Bolton or Myndd Isa the response has been disappointing.   Obviously, the solution is to hold regular monthly classes in Leeds and Chester as well as in Manchester but these will have to rely on non-sponsorship funding.  If we get that right there is no reason why Powerhouse Ballet branded activities cannot take place anywhere in the UK or beyond and not just Manchester and Leeds.

A Christmas Carol - A Reflection of a Golden Age

John Leech Marley's Ghost

Source Wikimedia Commons

 Northern Ballet  A Christmas Carol Leeds Grand Theatre, 31 Dec 2024

Although I read in Dance and Dancers about a performance at the Royal Northern College of Music by a new company called Northern Dance Theatre when I was an undergraduate at St. Andrews, it was only in 1987 that I saw them for the first time.  I could not have had a better introduction because it was Gillian Lynne's A Simple Man with Christopher Gable as L S Lowry and Moira Shearer as the artist's mother.

They were two ballet heroes from my childhood.  Shearer had retired before I took an interest in ballet though clips and photos of her remained long afterwards.  Gable, on the other hand, was one of the biggest stars in the 1960s when I started to attend the ballet.  I saw him several times and admired him greatly.

At about the same time as I saw A Simple Man or perhaps shortly afterwards Gable was appointed Artistic Director of the company now known as Northern Ballet.  As I said in my review of Moriconi and Gable's Romeo and Juliet on 5 April 2024, "[s]ome of my favourite works were created while Gable was the Artistic Director of the company and I have always regarded that time as a golden age."  I added that it gave me great pleasure to see Romeo and Juliet again and that I very much looked forward to seeing A Christmas Carol again in November.

I actually saw it on the last day of the year and I was not disappointed.  We had an excellent cast:

• Jonathan Hanks was Scrooge
• Joseph Taylor was Young Scrooge
• Dominique Larose was Belle
• Harris Beattie was Bob Cratchit 
• Jun Ishii was Scrooge's nephew
• Sarah Chun was the nephew's wife
• Bruno Serraclara was Mr Fezziwig, and
• Amber Lewis was Mrs Dezziwig,

The rest of the cast and indeed the casts of the other performances in Leeds are here.   For those who do not know the ballet or even Dickens's novella, the role of each of those characters is introduced on the Christmas Carol Characters web page and the synopsis is on the Christmas Carol Story page,  There are some lovely videos and photos.   Lez Brotherston's designs were as fresh as ever as was Carl Davis's score.

I have waited a long time to see this show again.   The company danced to packed houses most nights in Leeds.   I hope it will keep its place in the repertoire.