CUBAN BAROQUE
Sadler’s Wells Theatre
★★★★
“beautifully crafted and elegantly performed”
Rarely does a young dance company make such a striking impression, but Acosta Danza does exactly that with ‘Cuban Baroque’. Packed with stunning choreography, infectious vitality and exceptional talent, this is a company to seek out at every opportunity.
The evening opens with the world premiere of Andonis Foniadakis’ ‘Pearls’, a whirlwind blend of classical, contemporary and Cuban styles, before closing with Goyo Montero’s poised and powerful ‘Chacona’.
Andonis Foniadakis’ ‘Pearls’ is simply breathtaking. Its seamless fusion of classical, contemporary and Cuban styles creates a unique movement language with near relentless flow that’s both exhilarating and meticulously controlled. The choreography is endlessly inventive, shifting fluidly between formations with remarkable clarity and purpose. Even a bass-thumping, rave-like sequence feels integral to the piece’s evolution, though ironically parts of it feel a touch less dynamic. It culminates in a wry moment of collective exhaustion that earns a knowing chuckle from the audience. Overall, it’s a thrilling feat of dance and a stunning world premiere.
Drawing on Esteban Salas’ ‘Salve Regina’, Julien Tarride’s gorgeous music deftly transforms Baroque elegance into an exhilarating fusion of electronic and classical styles, in perfect sync with the movement on stage.
The ten dancers loop and whirl through the piece with dizzying precision, navigating an astonishing range of movement with seemingly endless energy. From sharp, spiky exchanges to flowing lyricism and everything in between, they handle Foniadakis’ demanding choreography with remarkable assurance. While there are the occasional flickers of hesitation, this extraordinary work remains in impressively capable hands.
Nicolas Fischtel’s lighting is a triumph, beautifully charting the piece’s shifting moods. Cathedral-like spires of light ripple and transform before splintering, creating a striking contrast against the otherwise dark stage. Subtle changes to the rich burgundy costumes further enhance the sense of constant evolution, mirroring the choreography’s restless momentum.
Created by Goyo Montero for Staatstheater Nürnberg Ballett in 2011, ‘Chacona’ is a change of pace entirely. Performed to a live onstage trio, its stately, classically infused choreography delivers a more nuanced take on Baroque-Cuban fusion while retaining plenty of flair. Opening with a commanding tableau of a lone woman strikingly framed by two columns of dancers, the work unfolds from intimate pas de deux into rippling canons and sweeping ensemble formations drawn seemingly from the music itself. If its shorter, more understated choreography feels slightly overshadowed by the dazzling vitality of ‘Pearls’, it’s perhaps due to the programme order – beautifully crafted and elegantly performed, Chacona is captivating in its own right.
Bach’s Chaconne from ‘Partita no. 2 in D minor’ is gloriously reworked for violin, piano and guitar, superbly performed by Pepe Gavilondo, Ezo Sarici and Adrian Aguiar.
The sixteen-strong ensemble creates a mesmerising mirage of movement, executed with a sublime balance of poise and vigour. While some of the larger passages fall short of the complete synchronicity promised, the dancers bring undeniable presence and technical assurance throughout.
Montero’s set design places the dancers at the heart of a triangle of musicians, again creating a moody atmosphere. Costumes by Verena Hemmerlein and Montero pair sleek black catsuits with distinctive cut-outs, giving each dancer a subtly individual look. Geometric lighting from Montero and Nicolas Fischtel features strikingly fluid geometry, evoking the sense of a dynamic, living chessboard.
‘Cuban Baroque’ is a captivating double bill that showcases Acosta Danza at its finest. Even if one piece makes a stronger impression, the company’s distinctive artistry, spirit and Cuban flair are on full display.
CUBAN BAROQUE
Sadler’s Wells Theatre
Reviewed on 7th October 2026
by Hannah Bothelton
Photography by Charlie Kirkpatrick
