Acosta Danza Will Return to Sadler's Wells With New Double Bill CUBAN BAROQUE
Performances will run Thursday 7 – Saturday 10 October 2026.
This autumn, Sadler's Wells International Associate Company Acosta Danza will return with Cuban Baroque, a new double bill under the artistic direction of dance legend Carlos Acosta, running 7–10 October.
Cuban Baroque blends the artistry of the Baroque period with the energy, creativity, and vibrancy of Cuban dance. Emerging from the 17th- and 18th Centuries, the artistic movement was characterised by rich colour, elaborate detail, and intricate decoration.
The show opens with a premiere of a new work Pearls by Andonis Foniadakis, which explores the classic chaconne looping structure, cycling through phases of acceleration, fracture, and rebound. Set to Esteban Sallas' Salve Regina, the score shifts from Baroque lyricism to Cuban drive, showcasing the fusion between memory and contemporary.
Closing the programme is Goyo Montero's powerful Chacona, originally created for the Staatstheater Nürnberg Ballett during Montero's 17-year tenure as director. Chacona is the final movement of Bach's Partita No. 2 in D Minor for violin, accompanied here by guitar and piano. Classical in sound and contemporary in movement, the 16-dancer ensemble moves in complete cohesion in this physically and musically demanding piece.
Cuban Baroque premieres at York Theatre Royal (1–3 Oct) before making its London debut at Sadler's Wells Theatre (7–10 Oct). The production then travels to Norwich Theatre Royal (20–21 Oct), with additional UK tour dates for spring 2027 to be announced.
Acosta Danza: Cuban Baroque is produced by Valid Productions in Collaboration with York Theatre Royal.
Carlos Acosta said: 'I am very excited about this programme which will encapsulate the essence of Acosta Danza, fusing as it will, classical, Cuban and contemporary vocabularies and styles. I am, of course, a big fan of both choreographers and am delighted that Andonis will create a brand new piece on my dancers. I look forward to seeing how that develops over the coming months. The flavour of the evening is summarised neatly by the title Cuban Baroque, but essentially this is a programme that anyone interested in any kind of dance can enjoy. I look forward, as always, to seeing how audiences react to the atmosphere this programme will create in the theatres.'
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