Review: LIKE WATER FOR CHOCOLATE, Royal Ballet And Opera

The ballet is in three acts that aren't brilliantly timed; 55, 35 and 25 minute acts. That said, one isn't uncontrollably squirming at any given point.

 

The protagonist is Tita, created on and performed again by Francesca Hayward in this revival. Tita is a vivid character, as are all the key roles, and Hayward communicates the suffering and emancipation of the complex woman with naturalism throughout.

 

Her suffering is largely created by societal expectations and a ghastly mother. Fumi Kaneko as Mama Elena took me by surprise with her dramatically large take on the role. Moments can feel a tad too Cinderella-ish (evil stepmother and nasty sister[s]) but overall, it's a characterisation win for Kaneko.

 

Tita’s long-term love interest is Pedro (Marcelino Sambé). From childhood friends to tormented adults, their relationship is constant and complex. Pedro is a difficult character to empathise with, as his behaviour is often informed by bad decision making and selfishness. But Sambé's dancing can only be adored. His large, expressive movement flowing into the auditorium, helped no end by Wheeldon’s lush, and emotionally communicative material - at certain points.

 

Thinking about narrative ballet one often finds two main approaches; literal/structured and something a little less so. Wheeldon is absolutely holding onto Esquivel's line - but his take is a modern, slightly looser one. You won't find any traditional mime here, but rather characterised movement to help steer through the many, storytelling passages. Wheeldon knows what he's doing no doubt - yet somehow these moments still fall flat. And one isn't sure why until the opposite is experienced.

 

Expressive solos for both Pedro and Dr John Brown - the second Tita love interest danced by a sensitive Matthew Ball - highlight the power that connected, choreographic phrasing can have in relation to storytelling.

 

Wheeldon uses numerous, potent pas de deux ranging from child's play to adult lust to explore the human emotions embedded in the story. And here we see Kenneth MacMillan’s legacy in Wheeldon’s formative training and creative years very much alive in the 21st century.

 

During the evening I realised how basic I am. As when a group scene arrived with melodic music (provided by Joby Talbot) and earthy movement full of form and spatial exploration I felt alive. But alive because of the dance, and not necessarily the emotional underpinning. Does that say more about me or the fact that (some) narrative ballets need more of the above in order to connect with their audience? And I'm not talking empty dance - I'm talking about the power of dance in order to communicate and connect.

 

The success of the above scenes also had a lot to do with Luca Acri's vivid dancing (as always) and a vivacious Viola Pantuso as Gertrudis - Tita’s free-spirited sister. That said, there's something very unsexy about sexy ballet…no matter how hard the sell! I'd also like to mention Isabella Gasparini's convincing performance as Rosaura - the eldest of the three sisters. Gasparini channels the generational trauma with conviction and balanced ease.

 

All in all it's a hit. Wheeldon’s skill, Talbot's (odd) catchy melody, Esquivel's mysticism and last but not least - Bob Crowley’s designs. Crowley stayed away from trope and found a brilliant balance between minimalism and exuberance, giving Wheeldon the ideal canvas for his Mexican world. I left the theatre satisfied but also unmoved in a way. I can appreciate all the skill involved - but ultimately it doesn't transcend for me. Not yet.

 

 

 

 

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