From: The Guardian.
Both Acosta Danza and Dorrance Dance are companies formed by supremely talented dancers with a point to prove. Perhaps that is why, in addition to technical excellence, they share a warm sense of being heartfelt, of making the case that dance matters to its participants and viewers.
In the case of Carlos Acosta, his aim in founding a company based in his native Havana was a way of offering something back to his homeland at the end of his glittering international career – and a means of promoting and supporting the talent that exists there. That ambition both explains the quality of the dancing and the two new commissions on this mixed bill – the second he has brought to Sadler’s Wells – which will tour the UK early next year.
From The Guardian.
It’s only three years since Cuban ballet star Carlos Acosta premiered his Havana-based company, intending to create a troupe that could dance anything from ballet to hip-hop. So far, so good: Acosta Danza boasts fantastic dancers from diverse backgrounds and, while they remain individuals, they’re developing a strong company style that is vital, sensual, technically sharp and warmly human. Of course, everybody still wants to see Acosta dance, but I’ll come to that.
While you’re waiting, check out the entrancing Mario Sergio Elías, who is fast, supple and powerful; and Marta Ortega, an immensely musical dancer who brings graceful detail to even the smallest steps. The pair’s eyes meet across a golden wheat field in Pontus Lidberg’s Paysage, Soudain, la Nuit, a piece that glows with fresh early morning light and late afternoon summer sun. For all the versatility of the dancers, the works in this programme fall squarely into contemporary dance. Lidberg’s piece is built on a rumba by Cuban composer Leo Brouwer, and the dancers move in constant flow and canon, an ever-pulsing energy bubbling away.