Brilliant evening celebrating Cuban dancers, choreographers and culture
Founded in 2015 by the celebrated dancer Carlos Acosta, Acosta Danza is acclaimed for its distinctive blend of contemporary and classical works infused with Cuba’s rich musical and cultural heritage. Ten years on, the company has become a showcase for some of Cuba’s most talented dancers, blending contemporary, ballet, and popular dance styles with individuality. At Sadler’s Wells, their anniversary programme A Decade in Motion offered four contrasting works, unified by incredible control and musicality
The evening opened with La Ecuación, choreographed by celebrated Cuban artist George Céspedes. A glowing gold cube at centre stage set the tone, immediately captivating the audience as four dancers emerged from the darkness. They began with a series of solos, gradually building until X Alfonso’s score ignited the work with energy. From there, the dancers moved through shifting formations, the mood alternating between rapid, razor-sharp sequences and sustained, physically demanding poses. The choreography continually tested balance and flexibility, with recurring extended one-leg holds serving as a motif. Clever use of light and shadow heightened the tension, adding an extra layer of rhythm and intensity to the piece.
The next work was the UK premiere of 98 Días, choreographed by Javier De Frutos. Ten dancers in blue overalls began seated at the back of the stage, before stepping forward one by one into solos that gradually expanded into intricate group formations. The choreography made striking use of each dancer, balancing individuality with collective power. Over a narrated poem built around Lorca’s Son de Negros en Cuba and songs by Estrella Morente, the dancers bodies mirrored the rhythm of the text before breaking into the dance to the bongo-inspired soundtrack. The meaning carried through in how the dancers physically shaped the words regardless of whether the audience understood Spanish.
The standout of the night was the piece Llamada by Goyo Montero. Set to flamenco tracks, it blurred gender roles, with male dancers in deconstructed tutus. The works swung between flashes of rage and raw vulnerability, ending with the ensemble miming visceral screams. The raw energy emanating from the dancers was beautifully tense and unsettling.
The final piece of the evening was De Punta a Cabo by Alexis Fernandez & Yaday Ponce. Against the projection of Havana’s Malecon from dusk to dawn, the full company took over the stage. After three “heavier” works, this felt like a release; small groups evolving into larger formations, pairs reforming, styles shifting between contemporary, salsa, and ballet. At heart, it read as an electric Havana night out.
The programme was cohesive without repetition and the dancers were brilliant. Each act had its own identity while still fitting together as a whole. The dancers’ musical intelligence was remarkable. Even in silence, the language felt audible, and they were consistently aligned with the score. Acosta Danza managed to be enthralling, playful, and celebratory in a single evening. Four distinct works, performed at the highest level, combining elite technique with genuine charisma.