Review: CARLOS ACOSTA - MYTHS AND MODERN MASTERS, Royal Ballet And Opera

There are few ballet dancers who can claim to be a household name, but the former Royal Ballet Principal, Carlos Acosta,  is one of them. Acosta is now 53 and the Artistic Director of Birmingham Royal Ballet (BRB) and Acosta Danza. Both companies feature in this mixed programme showcasing Acosta himself and some stars of the future.  

It’s an evening of mixed fortunes, with more hits than misses. However, the inclusion of The Moor’s Pavane was a baffling start which got the evening off on the wrong foot. A sedentary work based on based on Othello from José Limón with a dense narrative that only came to life in the latter stages. It was a dreary opening, danced competently by Acosta and his BRB team, but excitement was lacking and the piece looked lost on the RBO stage. Prior knowledge and context are required to fully appreciate it and this is an audience who are looking for a good time. 

Proceedings thankfully picked up after the interval with the divertissements and grand pas de deux from Acosta’s Nutcracker in Havana Suite. The man himself is the magical Drosselmeyer-esque character, and enchantingly, his 14 year old daughter Aila Acosta Holland is Clara. It’s a colourful sight, and sparkling fairy lights adorn Clara’s little throne, while Acosta is master of ceremonies in a glittering waistcoat. The dancers of Acosta Danza deliver the likes of the Chinese, Spanish and Arabian dances with flair and panache. Clara’s interactions are sweet and unintrusive. The number really belongs to BRB’s Beatrice Palma and Enrique Berjarano Vidal who give a radiant account of the Sugar Plum grand pas. Petite Palma has all the regal presence required and delivers in slick and untroubled fashion. Berjarano Vidal is a solid partner, and showcases his technical prowess with breezy jumps and clean, neat landings. I was utterly gripped by them, and even a little bit moved. Christmas magic delivered in August. 

The fireworks continued with perhaps the highlight of the evening. The familiar gala fayre of the Diana and Actaeon pas de deux was danced by Cuban pair Katherine Ochea and Yasiel Hodelin Bello, both First Soloists with BRB and on this showing surely Principals very soon. If Palma delivered a technical masterclass, Ochea went even further in a flawless performance. An absolutely rock solid core, there was never the slightest hint of trouble in the fouettes and multiple pirouettes, her supporting foot glued to the spot. Bello, similarly tore up the stage, a smooth manege of jetés and tumbling jumps that whirled around the stage. The vitality and attack of them was blinding, Acosta has some serious talent on his hands. 

Time to catch your breath and Acosta is back with Amisaday Naara in Nosotros, a tender duet danced to a gentle piano arrangement by Pepe Gavilondo. It spotlights the emotions of relationships. Acosta is still a strong partner, Naara is lifted into an overhead splits, her legs stretching over 180 degrees, but it’s all done with a respectful amount of distance and doesn’t catch fire. The lighting here is also rather dingy, which makes Beatrice García and Raúl Reinoso’s choreography harder to engage with. 

Acosta knows the importance of sending the audience home happy and there is no better crowd pleaser than Christopher Bruce’s Rooster. A vivid and fun closer, danced with enthusiasm by the Acosta Danza representatives. The women all wiggling hips and flicks of their ponytails. The men fix their hair and straighten their ties. Acosta is centre stage again, it's the most demanding piece of the night for him and he’s still got all the style and sass to pull it off amongst the youngsters. Paint It Black and Ruby Tuesday work the most effectively in this run through The Rolling Stones playlist. It’s not the tightest performance you’ll see and for my money it’s a couple minutes too long, but this is Acosta’s night and his charisma is more than enough to garner a highly satisfying conclusion. 

Image: Helen Maybanks

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