Arts & Culture

Acosta Danza review: Carlos Acosta returns to the stage2 min read

Carlos Acosta’s reputation does more than precede him as he takes to the stage with Acosta Danza.

After seventeen years with The Royal Ballet, he retired in 2015. Now, the ballet megastar takes to the stage once more with his Havana-based dance troop, Acosta Danza.

The performance is a mixed bill and gets better after every interval. Opening the show is Satori, choreographed by company member Raul Reinoso. The dancers are led by Zeleidy Crespo whose never-ending limbs perform the choreography flawlessly. Her astounding talent successfully distract from the contrived use of a huge purple sheet to symbolise a journey to enlightenment.

The company perform Paysage, Soudain la nuit.

The second work, Paysage, Soudain la nuit by the Swedish choreographer Potus Lindberg, begins as a pas de deux with additional dancers joining gradually throughout the piece until the whole company dances in unison against the cornfield backdrop. The movement, accompanied by a rumba influenced score by Leo Brouwer and Stefan Levin, is lyrical, smooth and excitingly innovative.

In Sidi Larbi’s Faun, choreographed to the traditional Debussy score, Carlos Luis Blanco and Zeleidy Crespo ooze desire. As they are enthralled in their pursuit of each other with limbs intertwined. Adam Carée’s lighting design bathes the stage in golden flecks, transporting the audience to a woodland on a sunny day.

Carlos Luis Blanco and Zeleidy Crespo in Faun.

Finally, Carlos Acosta takes to the stage to perform Christopher Bruce’s iconic Rooster. While mischievously smiling, he effortlessly mesmerises the whooping audience. At 46 years old, he leads the company with authority and exudes charisma in every move. Music by the Rolling Stones blasts out of the speakers and the finale is met with a standing ovation from the crowd.

Acosta centre stage in Rooster.

Dance Consortium’s spring 2020 tour of Acosta Danza’s Evolution opens at the Mayflower Theatre, Southampton on 3 and 4 March.

Lydia Spencer-Elliott


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