Carlos Acosta’s 17 years as a principal dancer with The Royal Ballet established him as a beloved favourite in the hearts and minds of London ballet-goers. His phenomenal technique was never the whole story: it was always enhanced by his artistry, his passion and his deep understanding of the art form he loves. As a partner he was adored by ballerinas all over the world. Seeing him dance again at the age of 53 was not only a privilege but pure pleasure, as his talent shines as brilliantly and naturally as it ever did.
On retirement from dancing in 2015, Acosta founded Acosta Danza in Havana and this company has gone from strength to strength, often seen (and much-loved) in London. In 2020 he also took on the directorship of Birmingham Royal Ballet, and in Myths and Modern Masters he brings them together in a varied, intelligently curated programme.
José Limón’s beautiful The Moor’s Pavane has not, I think, been seen in London for many years. I last saw it in 1979 at American Ballet Theatre and have never forgotten it. Acosta, of course, is an obvious choice to play the Moor: Limón intended to show Othello as a mature man burdened with the weight of power, someone who might be expected to rise above the visceral riptide of jealousy, and whose failure to do so illustrates the destructiveness of that most wasteful emotion. Acosta conveyed this superbly, his body moving fluidly around the stage at the opening and degenerating into punchy desperation as Iago’s schemes took hold. Beatrice Parma as Desdemona, Miki Mizutani as Emilia and Max Maslen as Iago were all excellent.
The Nutcracker in Havana has been seen in London but not yet by me, so it was a delight to experience the second act of it on this programme. This jolly production offers plenty to draw in younger audiences and gave us a lively Land of Sweets with some extremely impressive dancing. Acosta Danza were joined by Beatrice Parma and Enrique Bejarano Vidal of Birmingham Royal Ballet, who danced the Sugar Plum pas de deux with near-flawless clarity and attention to detail.
Bejarano Vidal came to my attention as a student at the Académie Princesse Grace in Monaco. Potential then seemed to burst from every movement, but he has now grown into his stage persona and approach to his work, so that no technical detail is missed and his virtuoso work has reached the heights I suspected were there. What beautiful entrechat sixes, and very fine double cabrioles, as well as thrilling turns and exquisitely attentive partnering. Parma is an utterly beguiling dancer, musical, intelligent, with an inherent understanding of dynamics and line. She never puts a foot wrong. An extra treat was the participation of Acosta’s 14 year-old daughter, Aila Acosta-Holland as Clara. As well as dancing, she sings, acts and plays numerous sports; we’ll definitely be seeing a lot of her in future.
I was delighted to hear last year that Katherine Ochoa had joined Birmingham Royal Ballet. Formerly at the National Ballet of Cuba and Cincinnati Ballet, she is known for multiple turns and spectacular fouettés but I’ve always suspected there was more to her than that, and in Diana and Acteon I was pleased to see I was right. She is a technician of the highest order but an unusually thoughtful one, bringing considered dynamics to her jumps and classical positions, and with an innate feel for épaulement. She was partnered beautifully by Yosiel Hodelin Bello, a young dancer who was a principal in Cuba, and now on the rise at BRB. His technique is assured and thrilling, and he has bags of charm. There is more to come with a little more fluidity and attention to the ‘in-between’ steps; Acosta will draw these from him.
Nosotros, choreographed by Beatriz García and Raúl Reinoso to piano arrangements by Pepe Gavilondo, who played onstage alongside cellist Antonio Novais, is a sublimely lyrical pas de deux invested with intense emotion by Acosta and the gorgeously long-limbed Amisaday Naara of Acosta Danza. Acosta was almost breathtakingly impressive; it’s a long piece and he never faltered through strenuous double-work and demanding step-sequences. I wondered over and over again: how is he DOING this? but, amazingly, there was more to come.
Christopher Bruce’s Rooster is a crowd-pleaser if ever there was one, and performed by dancers of this calibre it could not fail to delight. Acosta led with delightful insouciance, jumping and turning like a 25 year old, and everyone on stage immersed themselves in the fun. The final curtain calls, complete with a deserved standing ovation, filled the house with joyous clapping and cheering, and if you get the chance to see this, please go. You will enjoy an evening that will live in your heart and your memory.
