Ask most
people to think of a ballet and they’ll more than likely say ‘Swan Lake,’ ‘The
Nutcracker’ or maybe ‘Romeo and Juliet’ yet ‘Don Quixote’ ballet predates all
of them, originally performed in Moscow in 1869. This quintessentially Spanish
story was transposed into a ballet by a Frenchman, Marius Petipa, with the
score by Ludwig Mincus, an Austrian, and Birmingham Royal Ballet’s production
continues this cosmopolitan evolution with Han Vercauteren, from Belgium, having
re-orchestrated the score for Carlos Acosta, who as a Cuban, has appropriately
Hispanic lineage, directing this show with a lively and colourful feel.
This show has everything you might expect
from a grand ballet production; a massive cast, grandiose staging, a vibrant
orchestra and a dramatic story. ‘Don Quixote’ has all of these and yet is
different to most ballets in many ways. For a start, the music is virtually
devoid of strings, relying heavily on the brass section to create a vibrant
Latin feel throughout. The settings are very varied, from a bustling Spanish
town to lonesome plains, to a tavern cellar to an ephemeral dream sequence. The
costuming ranges from 16th century knights and an eclectic and
colourful array of Spanish villagers to gypsies and traditional white tutus.
Also, the dancing, with true Latin spirit, is not confined to the floor, with
tables and carts frequently used as additional dance stages.
Perhaps
the biggest difference however is that there is no sad, dramatic pathos
anywhere in the story. There is frequent humour; to quote director Carlos
Acosta, ‘it’s very sunny and people will laugh a lot.’ This feeling is conveyed
very much through the music, which for the most part, is vibrant and energetically
up-tempo. An original added touch was to have three classical guitarists
playing on stage and in character (as gypsies) to the accompaniment of the
orchestra in the pit.
A truly remarkable aspect of this production
is the staging, making full use of the full depth and height of the huge Lyric Theatre stage. There is little reliance of back curtain with the opening scene
looking like it really is a series of huge red-brick arches with houses in the
distance. Animation is used to great effect on a giant back-screen for the
windmill scene and the dream scene is truly stunning (no spoilers given). Even
in the wine-cellar scene, the effect is powerfully convincing, with giant
stacks of barrels and a long flight of steps at the back of the set bringing
over the effect of this being a huge interior. Realistic lighting of the ‘sky’
for the outside scenes not only make the sets looks real but skilfully changes
to denote the passage of the time. The attention to detail is truly quite
remarkable.
So much of ‘Don Quixote’ is different to
other ballets and this extends even to the show’s title. Yes, it is based loosely
on Cervante’s celebrated novel but Don Quixote and his servant Sancho dance hardly
a step. The main focus is on the forbidden love of the villagers Kitri, played
by Momoko Hirata and Basilio played Mathias Dingman, two dancers respectively
from Japan and America, who provide a veritable tour-de-force througholy
performing as a kind of impish Puck-type character in the dream sequences.
‘Don Quixote’ is a great antidote to
despondency during these troubled times, notwithstanding the fact that orchestra
started the evening with a spirited rendition of the Ukrainian national anthem,
which was very well received on the review night. This is a show for lovers of
ballet and theatre; it’s also the perfect show to take someone who may feel
they don’t like ballet; they will almost certainly change their minds after
seeing this remarkable production.
Reviewer - John Waterhouse
on - 4.3.22
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