Review: DON QUIXOTE, Sadler's Wells

Carlos Acosta’s favourite ballet full of Spanish sun and slapstick humour is a very silly story. But with an audience who’ve braved tube strike misery Don Quixote (Don Q) is just the ticket for a bit of carefree escapism, transporting us to an exotic and colourful land and danced with great relish by a spirited Birmingham Royal Ballet (BRB). Acosta first premiered his own Don Q in 2013, and this particular version was first danced by BRB in 2022, tweaked and adjusted for touring suitabilities. 

BRB have been touring Acosta’s production across the country since February and it shows in the company’s confident presentation. A welcome change from the frequently seen Nutcrackers and Swan Lake’s, Don Q packs in the dance content and choreographic challenges from the start. It’s a meaty full length ballet which does occasionally feel a little bloated, what with antics of the titular character and his associates but with Tim Haley’s pretty set and Nina Dunn’s effective video designs, it’s easily forgiven.

Of course Don Quixote himself (Rory Mackay) is actually just a background figure, on a slightly tedious mission to find Dulcinea, the woman of his vision in a briefly seen opening vignette. This endeavour sees us arrive in the Spanish sun sets up Kitri’s meeting with Basilio. 

Seasoned Principal Momoko Hirata is an elegant and sophisticated Kitri. The female protagonist is often portrayed as sexy and mischievous but Hirata’s is warm and charming, with just as much to savour. Combined with Mathias Dingman’s charismatic Basilio, they are a fine pairing, able to display flair and spontaneity in the busy crowd scenes and sharing a light hearted chemistry. Best of all, they can deliver all the choreographic fireworks with ease. You can relax entirely during Kitri’s famous hops en pointe, Hirata’s upper body is all sweetness and light, but her technique is steely and there is no jeopardy to be had. Dingman has an athletic jump and is most impressive in the one armed presage lifts which pose no problems. 

Act Two and the action moves to the shady setting of the gypsy camps with its open fires and mystery. Acosta has inserted more of his own choreography here and the flows well, the blacks, purples and reds of the gypsy skirts swirling evocatively.   

Perhaps the highlight of the night is the transition into the glistening dryads scene. Dancers in glittering silver tutus gently fill the stage, with Céline Gittens exuding regal authority as their serene Queen. Her dancing is unhurried and controlled in this visually rich and opulent scene. Not forgetting Tzu-Chao Chou’s who brims with energy as a cheeky Amour, bringing a wicked grin and breezy jump. His teasing of a sleeping Don Quixote adds some humour in this decorative divertissement. 

A return to the town square concludes the story. Kitri’s father, Lorenzo (Jonathan Payn), still wishes for his daughter to marry Gamache (Rafael Bejarano Vidal), a wealthy nobleman and walking caricature. Fortunately the lovers hatch a plan and all comes good so the dreamy wedding scene, and frequent gala fayre, can finally ensue.

Eye catching too was Yaoqian Shang’s firecracker Mercedes, a dynamic dancer who delivers a confident and spicy take to the Street dancer (I’m sure she does a fine Kitri). Max Maslen is her accomplished matador partner. Impressive too are Olivia Chang-Clarke and Katherine Ochoa, who gave a well matched and neatly danced account of Kitri’s friends. 

The dancers of BRB are in excellent form with talent running through its ranks, and Acosta’s colourful Don Quixote does a fine job of showcasing them. The jubilance of the wedding scene with all the side plots and characters coming together to celebrate the couple is a satisfying and joyful conclusion. Although lengthy, it’s still an uplifting and rewarding night out.

Image credit: Johan Persson