Review: Carlos Acosta, Myths and Modern Masters, at The Royal Opera House
Matthew Paluch sees Carlos Acosta: Myths and Modern Masters and was struck by the lasting power of the modern masters – José Limón’s The Moor’s Pavane and Christopher Bruce’s Rooster.
| Title | Carlos Acosta: Myths and Modern Masters |
| Company | Birmingham Royal Ballet | Acosta Danza |
| Venue | Royal Ballet and Opera, London |
| Date | 6 August 2026 |
| Reviewer | Matthew Paluch |
Summer performances continue at the Royal Ballet and Opera with Carlos Acosta: Myths and Modern Masters. Acosta is the busiest man in ballet, and here he brings together dancers from Birmingham Royal Ballet and Acosta Danza for a varied show.
What I took away was the lasting power of the modern masters, in the form of two choreographers: José Limón and Christopher Bruce.
Limón opened the evening with The Moor’s Pavane. It’s my first viewing of the work… and what a stonker. The concept is so intelligent – a drama housed within a Pavane and other High Renaissance dance forms. From the first chords of the Purcell, the scene is set, and understated drama unfolds through Limón’s weighted gesture.
The work isn’t overly busy, and Limón allows the characters to convey their stories through space and stillness. The plot is influenced by Othello, but Limón didn’t want people to get bogged down with this. And you don’t. The dynamics are clear and the tragedy unfurls. The cast did a great job, but I also wondered what the work would look like with actual Limón dancers – even better, I think.
Closing the night was Christopher Bruce’s Rooster. Set to rock and roll music from the 1960s and 70s, it’s a modern-day classic and hasn’t lost any of its oomph. Fundamentally, it’s a playful battle of the sexes; the men preen, the women smoulder, etc. It could so easily be cliché, but Bruce really is a master. The language is original, barely repetitive, has just enough motifs to keep one hooked, and maintains a steady, cool pace throughout. The street/contemporary dance hybrid language is ideal for Acosta and his Acosta Danza protégés, though again, I kept wondering what this would look like with more weight and impactful dynamics.
In the middle, we had divertissements that ranged from the sublime to the not-so-sublime. Nutcracker in August?! Exactly. We were ‘treated’ to an excerpt from The Nutcracker in Havana Suite, and though it’s difficult to analyse a work without seeing it in its entirety, what I saw isn’t for me. The ‘Chinese’ number was impressive, but for its circus-style tricks rather than anything choreographically profound. Elsewhere I was indifferent, verging on cringing.
The suite also includes the Grand pas de deux and was danced by Birmingham Royal Ballet principal Beatrice Parma and first soloist Enrique Bejarano Vidal. They’re both very capable dancers, so the moment was absolutely pleasurable. Parma is strong and charming, Vidal precise and elegant. But no one is going to make me think that Nuts in August is okay – it isn’t.
The final piece was a creation for the programme by Beatriz García and Raúl Reinoso. Nosotros was danced by Acosta and Amisaday Naara, and looks at relationships as its premise. With a pianist and cellist on stage, the work had aspects of atmosphere but didn’t take me anywhere of depth. I couldn’t buy into the dramatic connection between the two, and the language had no obvious, original voice. A somewhat wasted opportunity.
Sandwiched between the two was the classical, gala fodder Diana and Actaeon. This can so often be empty pyrotechnics, but when danced by Birmingham Royal Ballet first soloist Katherine Ochoa, it becomes a different thing. Ochoa is one of those Instagram dancers – someone you’ve never seen live who only seems to have content concerned with pirouettes, in the numerical sense.
Thankfully, live, she’s so much more than her social media notoriety. Her Diana is full of character and technical prowess. She dances with such ease that you really can just sit back and relax, but it’s her presence and characterisation that won me over. Her Actaeon is (BRB first soloist) Yasiel Hodelín Bello. Bello is clearly a young talent with buckets of potential, but he still has a way to go to match Ochoa’s stage presence levels.
And so to the main man. Acosta is both myth and modern master. A myth in the legacy he leaves behind, a modern master as he still struts his stuff in Rooster. The show was largely enjoyable, but actually wasn’t that much about Acosta himself. He danced but didn’t pull focus per se. This can be read two ways: he’s a generous boss, or the show lacks a fundamental point. The decision is down to the individual observer.
Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.
Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.
He is a member of the Dance Section of The Critics’ Circle.
