What does a ballet dancer who has had an incredible career as an international guest artist, danced as Guest Principal with leading ballet companies around the world, developed and produced his own award-winning shows, written not one – but two – books, featured in several film roles, established his own dance company, and become director of the Birmingham Royal Ballet do next?
Carlos Acosta admits to being a very hard worker, never choosing the easy route, and always pushing himself to achieve.
Whilst acknowledging himself that there are no childhood dreams left for him to fulfill, he continues to create new ambitions for himself.
And next on his plate is his latest project Myths and Modern Masters, a wonderfully unique chance to see Acosta back dancing on stage following his 50th birthday performances in 2023.
He has curated an innovative and celebratory production showcasing his continued dedication to incorporating his national Cuban style into this mixed bill of classical and contemporary works.
Pausing amidst a busy end of term day, Acosta chats with us while looking ahead to the promise of a very exciting, limited summer run at the Royal Ballet and Opera from August 5-9, 2026.
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Interview with Carlos Acosta
Myths and Modern Masters will open on stage at the Royal Ballet and Opera, with Acosta and artists of Birmingham Royal Ballet featured in José Limόn’s The Moor’s Pavane. With music by Henry Purcell, the work takes on the form of a Renaissance dance to tell the story of Shakespeare’s Othello and is regarded as one of the greatest masterworks in the modern repertory.
‣ Can you share how you arrived at the decision to include The Moor’s Pavane in this bill?
It’s a timeless, theatrical piece. It’s so refreshing; on the surface it’s very simple, very pure. It tells the story of Othello, and the plot is the bare minimum – there are just four dancers. I’m playing Othello [for the first time], and I’m really looking forward to it!
‣ At what stage are rehearsals now?
It has been rehearsed in stages so far with [duets and smaller numbers] rehearsed separately as the ensemble pieces need more attention to detail and to the narrative, the meat and essence of the piece. It’s been a major operation; we’ve been planning all year round for it. Balance has been an ongoing thing as so much is going on, but now we can concentrate on it for the summer.
Nutcracker in Havana Suite opens Act II with guest dancers from Acosta Danza, Enrique Bejarano Vidal and Beatrice Parma from Birmingham Royal Ballet, and Acosta performing for the first time in his 2024 creation.
‣ Described as a “melting pot of classical, Latin and contemporary styles with a unique sense of magic and fun”, where did your original inspiration for Nutcracker in Havana come from?
When I was creating Acosta Danza [in 2015], I wanted both classical and contemporary work in their repertoire. Storytelling is an essential part of ballet, and I was eager that Acosta Danza had this full-length piece.
Growing up in communist Cuba, I didn’t know what Christmas traditions were until I was aged 20. I wanted to put our Cuban style into a famous ballet, to show the complete opposite extreme of the Victorian Christmas (seen in traditional versions of the The Nutcracker) and recreate our own Cuban Christmas, a Nutcracker with our own essence.
‣ When you choreograph, do you tend to pre-prepare material, or experiment with ideas with dancers in front of you?
Both. But when I start to choreograph, I work a lot in advance, so people will receive dictations.
But I don’t have the answer to everything. I leave room for surprise.
Dancers can give you different ideas based on their abilities, so I don’t want to be so rigid that I can’t adapt.
‣ How has your choreography developed over the years?
The way that choreography lives in your head and then materialises sometimes doesn’t quite work. For example, with Carmen (choreographed in 2015) I wasn’t pleased with it, and I kept working to improve it. It’s the little things – how you hold your hand, how you work the character.
It wasn’t until recently, finally, that I think I got it almost right. I’m always changing and adding, always reviving.
‣ There’ll be a powerful end to the evening with a resounding revival of Rooster, choreographed by Christopher Bruce, to a soundtrack of songs by the Rolling Stones. It will featuring Acosta Danza and you in the title role – that sounds exciting!
The Rolling Stones are relevant today more than ever. For those who don’t follow theatre or dance, it will be a pleasant and fun one to watch.
Other works in Myths and Modern Masters will include Birmingham Royal Ballet’s Katherine Ochoa and Yasiel Hodelin Bello performing the pas de deux from Agrippina Vaganova’s Diana and Actaeon. Acosta will return to the stage with Amisaday Naara, principal dancer from Acosta Danza, to perform Nosotros by Raul Reinsino and Beatriz Garcia.
‣ What do you think audiences will think of Myths and Modern Masters, and what do you want to share with them?
It depends where people are coming from. Some pieces will resonate more than others and might be disliked as well! It comes down to what the individual deems to be a special evening.
It’s all about being grateful and enjoying every minute of it.
Being an artist is about being honest. I don’t feel like I have to prove anything, so this is a way of celebrating with everybody on a very special stage. It also brings awareness to talent that people haven’t seen before. I want to put on a good show but it’s not all about me – it was never meant to be.
Featured Image of Carlos Acosta in Christopher Bruce’s Rooster. Photo by Johan Persson.
