REVEALINGLY, Carlos Acosta writes that On before is “one of the most important shows” he has created and danced. 

Explicitly in this case, Carlos Acosta has used this revived version of On Before (premiered last week at Edinburgh’s Festival Theatre, prior to UK touring) to present some new-generation performers and choreographers from his Havana-based troupe Acosta Danza. 

The exposure is especially viable given Acosta’s physical manifestation, and the inclusion of choreographic works by established makers and a well-planned tour of large proscenium theatres, backed by the producing forces of Norwich Theatre. It is a vital feat to be able to offer opportunities amid such established renown. The live artwork gets to assume a powerful frame. 

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An enthusiastic audience is drawn by knowledge of Acosta’s stage-worthy prowess. Right now, this is palpable in refreshing ways. A majestic arm extends horizontally, with unforgettable poise and globe-spanning reach, during fixed tableau that bookend the show. Here too is perfectly eloquent stillness, in the image of a deconstructed reverse-pieta, completed by the prone form of co-dancer Laura Rodriguez. 

We need these poignant sculptural brackets, both to move us from the expectation of mere showing-off and to offer pointers as to this project’s sombre atmosphere and boomy minor-key soundscapes. 

Strong intelligent statements ensue throughout a first act that culminates in Acosta’s tackle of the Russell Maliphant repertory piece Two. This photoshoot-like gem happens in a square column of waxing/waning light, downstage centre. It is a riveting progression of elemental poses, flexes and fluctuations. 

Earlier we witness the bespoke solo Memoria, choreographed by Miguel Altunaga-Verdecia, which works around Acosta’s accomplished idiom. Memoria gives us a whiff of galvanised resources. With endearing humility our Cuban superman enters into elastic youthful gambits and vibrant streetwise motivations. His exertion is detailed, involving, and generous. 

Elsewhere his character occludes; dialling down graciously enough to consort-mode during duets (or are they pas de deux?) with the wonderfully agile and versatile Rodriguez.
 
Cumulatively, I discern parallels with international ballet competitions (such as those conquered by the young Carlos) where, alongside glamourous standards, “something modern” (comparatively bendy, eclectic and dressed-down) is well satisfactory. 

Equally conventionally, ballet companies and their academies initiate dance-making, with extra-curricular choreographic evenings of duets and solos. These make for powerful formative experiences but when the formula resurfaces amid full-evening two-handers, the choreographic texture diffuses. Brilliant lighting-plans and the frame of production go some way to completing the audience’s experience, but an ensemble would work wonders.

As if to ameliorate the absence of folk (and their texture) a locally recruited choir (the Edinburgh University Singers) are finally present to sing Morten Laurisden’s O Magnum Mysterium. The music is both heartfelt and tasteful — one’s mother would dearly love it. The choir also walk, mute, through and around earlier scenes, at a nice juncture between pedestrian procedures of postmodern dance and an implication of rites and rituals. 

Clearly On Before’s additional topics (bereavement: heterosexual heartache) could also relate to passersby. Maybe Carlos Acosta’s assertion of this show as having relative importance points to a kind of egalitarian wisdom. He does not aggrandise his strengths and plights over those of another. The solo dancing is proudly resourceful yet balanced by quiet acts of dance-husbandry.

On tour until July 21. For more information see: Cuba50.org