It's been called ‘transcendental’, ‘the most important cultural event in Cuba for 30 years (since the visit of the Bolshoi)’ and proves largescale diplomacy can create a powerful impact, reaching the grassroots with a blazing display of quality, diversity, education, and positive perceptions of contemporary Britain.

With overnight queues for tickets, 15,000 Cubans saw the Royal Ballet’s performance with Cuban dancer Carlos Acosta - a glorious homecoming on the stages of the Gran Teatro and Teatro Karl Marx in Havana this past July.  Around 5000 more people watched on giant screens on the steps of the Capitolio, and were overwhelmed when the dancers including Carlos came out from the theatre to speak to them.  The performance was also broadcast on Cuban TV.

The inventive full programme included the first ever Cuban performances of the ballets of Frederick Ashton (A Month in the Country) and Kenneth Macmillan (the full-length Manon). The programme also featured Swan Lake, Don Quixote and Giselle. And because the Nacional Ballet de Cuba’s Giselle is one of their most popular works, it was interesting for many observers to make comparisons between the styles. The ultra-modern work Chroma was also featured. This new piece by Wayne McGregor featured sets designed by minimalist architect John Pawson and was set to music by the White Stripes in a Joby Talbot orchestration.

For over twelve months, the British Council worked together with a local Producer, the Ministry of Culture, and the British Embassy to generate approval and create a solid infrastructure to cope with 200 Royal Ballet company members (from over 19 different countries), 9 containers of sets, lighting, costumes and props, and the curiosity of millions of people eagerly awaiting the visit.  Organisers also obtained the all-important blessing and goodwill of Alicia Alonso, who created the Ballet Nacional de Cuba.  In one performance, Cuban dancers joined dancers from the Royal Ballet onstage, in a tribute to her.  

The Royal Ballet came to Cuba at the end of their summer tour to Washington and Grenada, and brought with them a small group of Royal Ballet supporters who made individual donations to the tour.  This was supplemented with unprecedented support-in-kind from the Cuban Ministry of Culture, Performing Arts Council and a small amount of local British support.  Cuban journalists are now talking about the visit of the New York Philharmonic Orchestra in the autumn, these visits considered by many to be the most high-profile cultural exchanges with ‘the West’ since the revolution in 1959.  In addition, Ballet Boyz (ex Royal Ballet dancers) have made a documentary about the visit which will be shown on TV towards the end of the year.

The British Council works with the Royal Ballet all over the world facilitating the tour, liaising with local contacts in country, and supporting education programmes (in 2008 in China and Japan where the ballet will be returning in 2010).

Amidst the roar of the headlines - ‘Delirio cubano con el Royal (Cuba is in delirium for the Royal Ballet)’, ‘Royal Ballet, seducción cubana (seduces cuba)’, were the quiet and special words spoken when Alicia met with Dame Monica Mason, director of the Royal Ballet.  ‘Please come again’.