A phenomenal display of passion and athleticism that brilliantly showcases the full depth and breadth of a doomed relationship

This full length collaborative work saw the return of beloved Carlos Acosta to the Festival Theatre one year after his last iteration of the show by the same name. A homage to his late mother, this piece was a masterclass in dynamic partner work and flawless technique. Backed by the likes of Norwich Theatre, Valid Productions and presented by arrangement with ¡Como No!, the performance further engaged in local collaboration by featuring The Edinburgh University Singers with a hauntingly beautiful rendition of Morten Lauridsen’s O Magnum Mysterium.

From the first note of the first act, it was clear this piece could only be described as interdimensional. A blend of contemporary ballet juxtaposed by a smattering of musical genres, the curation of the piece was beautifully developed. Acosta, when performing solo, was a vision of dynamic movement luxuriating in exploration of personhood and relationships through the experience of his own body. Laura Rodriguez was simply astounding moving with a grace that defied physics and a passion that left the audience dumbstruck. The pair in tandem was otherworldly, delightfully toeing the balance between performing each moment as if it were a discovery and executing it with such precision and trust that it appeared effortless. With a chemistry that lit up the stage and obvious, explicit trust, the pair worked as one seamlessly demonstrating the height of artistic companionship.

As a narrative dedicated to doomed love, many of the pieces visually and thematically explored contrast, boundaries, and limits either supported by the orchestration or in direct conflict. This was marvelously executed visually through the limited use of color and light. Despite most pieces containing only one or two performers on the stage, the creation of smaller, habitable spaces served to focus the audience on the performers’ relationship to themselves and others when confined. However, when confronted by the expansive stage, the performers’ energy was boundless and covered every inch of the stage.

There were no faults to be found in the show. Acosta is a fan favorite and packed the festival theatre without an empty seat in sight. However, if one note must be made, a speaker did break at the beginning of the performance making the bass heavy orchestration at the beginning of the show painful. This speaker was, fortunately, turned off for the second half of the performance and noticeably improved the experience.  

Despite depicting a doomed relationship, this piece was a collaborative success. With so many creatives and dance makers: Russell Maliphant, Kim Brandstrup, Will Tuckett, Raul Reinoso, Beatriz Garcia, George Cespedes, Zenaida Yanowsky, Yury Yanowsky, Miguel Altunaga as well as Carlos, this project’s sheer creative force soared above in its dedication to create On Before in its revised form. Deserving all of the acclaim it has received, it was a beautiful and accessible show that was engaging and enjoyable regardless of age.