Nutcracker in Havana review – Carlos Acosta brings Cuban heat to Richmond Theatre
Classical purists may raise an eyebrow, but this Cuban-infused Nutcracker in Havana is a warm, joyous festive treat.
Richmond Theatre, with its jewel-box Victorian interior of red velvet and gilt, is the perfect home for Carlos Acosta’s Nutcracker in Havana. This Cuban reimagining of the classic festive ballet, first premiered in 2024, returned to London with its warmth, energy, and inventive charm intact — a far cry from the snowy landscapes of Tchaikovsky’s Russia or the Germanic origins of E.T.A. Hoffmann’s tale.
The story follows Clara, whose enigmatic uncle, Tío Elías Drosselmeyer, returns from Miami with gifts. Among them is a Nutcracker doll, which springs to life as a Mambí soldier leading the fight against the rats before transforming into a dashing Prince. The journey moves fluidly from Clara’s modest Havana home to bustling city streets, across the Cuban countryside, and into the fantastical Kingdom of Sweets — all filtered through Acosta’s Cuban imagination.
Pepe Gavilondo’s newly commissioned arrangement of Tchaikovsky’s score transforms the familiar melodies into a Cuban heartbeat. Percussion, guitars, and syncopated rhythms push the dancers to blend classical technique with folkloric, contemporary, and Carnival-inspired movement. The result is music that feels alive: sometimes recognisable, sometimes playfully cut loose.
The cast is a mix of seasoned company dancers and the junior troupe. Differences in experience occasionally show, yet they add a charm that suits the festive, family-friendly spirit. Adria Díaz’s Clara is full of wonder and poise; Alejandro Silva’s Nutcracker Prince is assured and elegant; Amisaday Naara’s Sugar Plum Fairy exudes long-legged grace. Alexander Verona’s Drosselmeyer charms with mischief and authority. The ensemble shines in Divertissement sequences: flamenco-infused Spanish dance, sinuous Arabian, martial arts-inspired Chinese, Mirlitons, and Cossack-style Russian numbers, all performed with vigour and personality.
The production is visually inventive. Nina Dunn’s projections sweep the audience from Havana’s sunlit streets to rural landscapes and the glittering Kingdom of Sweets. Andrew Exeter’s lighting shifts the mood from tropical warmth to snowy fantasy without a hint of artifice. Angelo Alberto’s costumes are playful and precise — from the maypole clogs to the Sugar Plum Fairy’s glittering gown — while snow, confetti, and magical transformations punctuate the action, producing real moments of delight.
Even with minor technical imperfections the show thrives on energy, warmth, and sheer inventiveness. Audience reaction throughout was genuine: laughter, gasps, and applause rippled through the theatre. Carlos Acosta himself appeared at the curtain call, watching over his dancers with quiet pride.
More details and tickets HERE
Elena Leo is the Arts & Lifestyle Editor of Ikon London Magazine.
