Acosta Danza's Cuban Baroque: mixed dance reception

By the Editorial Team · Friday, October 9, 2026

Acosta Danza premiered Cuban Baroque, a new program featuring two contrasting contemporary dance works that highlight the company's technical skill despite economic challenges in Cuba. While the first piece, Pearls, faced criticism for its unclear choreography, the second, Chacona, was praised for its emotional depth and successful integration of music and movement.

Despite enduring severe economic hardships, including extensive electricity blackouts and shortages of basic goods, Cuba continues to nurture outstanding dance talent. This resilience is evident in the latest performances by Acosta Danza, the contemporary dance company founded in 2015 by Carlos Acosta, Cuba’s most acclaimed cultural figure and former Royal Ballet principal.

Acosta Danza’s new program, Cuban Baroque, comprises two contrasting works that showcase the company’s exceptional dancers, although the choreography has received mixed reactions. The opening piece, Pearls, choreographed by Andonis Foniakadis, has drawn criticism for its unclear thematic intent and cumbersome execution. Set to a score by French composer Julien Tarride, the music combines baroque-inspired motifs with jarring orchestral noise and Cuban rhythms, creating a disjointed auditory experience.

Onstage, ten dancers perform under dim lighting, dressed in nondescript liver-colored costumes. Their movements, described as repetitive and lacking originality, contribute to a performance that many found tedious and overly long. The choreography’s lack of dynamism contrasts sharply with the ensemble’s evident technical skill.

The second work in the program, Chacona by Spanish choreographer Goyo Montero, marks a significant improvement in both conception and execution. Originally created in 2017 and later adapted for the Birmingham Royal Ballet, Montero’s piece returns now in a revised form tailored to Acosta Danza. The music features Bach’s Chaconne from Violin Partita No. 2, delivered live through piano, violin, and guitar.

Chacona opens with a slow, expressive pas de deux, performed by Melissa Moreda on pointe and Paul Brando, portraying a sense of yearning. The duet, once danced by Acosta and Alessandra Ferri, is supported by a larger group of 14 dancers dressed in black, who participate in precise, geometric formations and rhythmic patterns that echo the music’s structure. The piece highlights the dancers’ technical prowess and interpretive abilities through its careful alignment of movement and score.

Overall, Cuban Baroque underscores both the extraordinary talent nurtured within Cuba’s dance community and the variable success of contemporary choreography in conveying artistic narratives. While Pearls struggles to maintain audience engagement, Chacona delivers a more compelling blend of music and movement, affirming the continuing vitality of Acosta Danza’s repertoire.

This article was reported by synthesizing coverage from multiple independent news outlets to present a balanced, unbiased account. Read about our editorial standards. Spotted an error? Let us know.