How to describe the brief solos by Rasta Thomas, probably the most versatile and virtuous dancer of his generation, in Havana? Bondless charm, a commanding stage presence, passion, intensity, precision, splendid form and a genuine love for dance, transmitted to the audience.
His first performance in Cuba kept the public on the edge of their seats, with a surprise piece - a fusion of elements of classical ballet and contemporary rhythms - not even featured in the program for Contemporary Dance of Cuba’s (DCC) 57th anniversary, being celebrated this season; by the mold-breaking 34 year old dancer; creator of so-called “pop-ballet” and “21st century ballet.”
The Mella Theatre had the privilege of seeing Thomas perform on its stage. He enchanted the audience with his high-energy, effortless dance, accompanied by a ferociously modern piece: Give me all your love. An excellent performance, the product of his strong ballet foundation which make him the dancer he is today, able to move the public like no other.
In numerous interviews Thomas himself has stated that he mixes classical ballet, contemporary dance, acrobatics, martial arts, elements of pop, break-dance, jazz, hip-hop and other street styles; and dances without distinction weather it be to Tchaikovsky, Mingus, Massenet, Delibes, or Queen, U2, Prince or Michael Jackson, because “good music lives within us all and I love to dance to different types of rhythms.”
However…“I thought that a good dancer was one that could do whatever the choreographer asked, so I trained hard to become the most versatile dancer possible, from Baryshnikov to Michael Jackson. It was a fantastic challenge to jump from one style to another, but at the end of the day my heart lies with ballet.”
He has performed in the ranks of classical ballet companies such as Jeune Ballet of France; the Washington Ballet; Joffrey Ballet of Chicago; the Japanese Inoue Ballet; Beijing Central Ballet of China; Mariinsky Ballet of Russia and the American Ballet Theatre, and will now accompany Contemporary Dance of Cuba (DCC) as a guest artist, during their next season in Mexico presenting the piece Carmina Burana (based on Carl Orff’s cantata of the same name), by Cuban choreographer George Céspedes, who Thomas has described as daring while also noting that he was “attracted by his vision.”
Rasta Thomas is a favorite of both purists and converts, why? Perhaps because of his honest and original technique, and clean and profound way of performing on stage. His phenomenal abilities as a dancer have seen him reach and remain at the apex of global stardom for many years now.
A similar situation occurred in Havana. Among the audience members seated in the Mella were the recognizable faces of fans of the DCC (El cristal, by Cuba’s Julio César Iglesias, and Reversible, by Colombian Annabelle López Ochoa met with rapturous applause) while playing close attention were also those of many ballet lovers.
Two groups brought together by Rasta Thomas, whose second solo - none other than a personal rendition of The Flight of The BumbleBee (orchestral interlude by Nikolái Rimski-Kórsakov for his opera The Taleof Tsar Saltan, composed between 1899 and 1900) - didn’t disappoint either.
This piece, traditionally adapted to piano and instantly recognizable due to its frenetic rhythm, was the perfect complement to his style while highlighting his ability to move with the great speed demanded by the work.
Using his full range of motion, with steps and variations expertly executed, Thomas seemed euphoric in his dancing: a joyous and brilliantly communicative performance.
This was the highpoint of the night, and Thomas was energetic but not excessive, not for a moment allowing his technique to overwhelm the artistic essence of the work. Thus was Rasta Thomas’ debut in Havana, long awaited, but celebrated and much appreciated.
