Carlos Acosta: Myths and Modern Masters review – superstar returns with style, the Stones and his daughter
Royal Opera House, London Mixing contemporary, Cuban and classical works, Acosta has charisma to burn and is accompanied by an impressive cohort It’s a bit
Royal Opera House, London Mixing contemporary, Cuban and classical works, Acosta has charisma to burn and is accompanied by an impressive cohort It’s a bit of a stretch to call this undoubtedly enjoyable programme Myths and Modern Masters but granted, it sounds better than Miscellany.
Carlos Acosta – superstar dancer, now director of Birmingham Royal Ballet and Cuban company Acosta Danza – has picked and mixed dancers from both companies to offer a very eclectic spread of dance, and added himself into the mix. At 53, Acosta may not have the physical prowess of his youth, but he brings great presence and depth – and some great dancing, too.
That serves very well in José Limón’s landmark 1949 work The Moor’s Pavane, a distillation of Shakespeare’s Othello which boils down the story to four characters – Othello (Acosta), Desdemona (Beatrice Parma), Iago (Max Maslen) and Emilia (Miki Mizutani) – and contains their drama of deception, jealousy and revenge within a stately composition of measured steps and stylised gestures, set to courtly music by Purcell.
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