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Carlos Acosta stretches out on the sofa and yawns. Not the most promising start to an interview, perhaps — or indeed the most flattering response from the man sometimes called the Cuban Sex Missile — but I can see why he's tired. He's been up with the lark, or at least with Carol Kirkwood from BBC Breakfast, talking about his new show at the London Coliseum, and then he's been for a costume fitting for a film he's shooting in August, and now — well, now, there's this.
Me, in a tiny room at the Royal Opera House, so tiny that our knees are almost touching. Lulled by his yawns, I've kicked off my shoes. Startled by his surprise, I've grabbed them back. I have been up half the night, I tell him — wanting to cheer him up, wanting to wake him up — reading his memoir, No Way Home.
I ran, I add ingratiatingly, from Green Park tube to Waterstone's, Piccadilly, to get it before it closed. And I couldn't, I really couldn't. The facts of Carlos Acosta's life are astonishing enough: the childhood, in a "hovel without running water" in Havana, shared by 11 siblings, a truck driver father and a much younger mother, who divorced when Carlos was three, but had nowhere else to live; the poverty that had the children living in rags and Carlos's mother cooking his pet rabbits; the break-dancing, the truancy, the petty thieving and the moment that changed it all, the moment when Pedro Acosta, hearing from a neighbour that it could get his son fed and clothed, sent him off to audition for ballet school.
A documentary made about Acosta a few years ago was called The Reluctant Ballet Dancer, and there's no doubt, from the book, that he was. Pedro was a man who practised what he preached. When Carlos was expelled from his first ballet school, for truancy, he beat him "within an inch of his life". But when the Ministry of Education approved a possible transfer, he killed two roosters and sprinkled their blood over the iron objects in his shrine.
