Review: Birmingham Royal Ballet’s DON QUIXOTE, Birmingham Hippodrome
Photo credit: Tristram Kenton
Birmingham Royal Ballet’s Don Quixote arrives at the Birmingham Hippodrome full of colour, humour and theatrical joy. Carlos Acosta’s staging takes this classic ballet and makes it feel fresher, and accessible for today’s audiences. Using Cervantes’ wandering knight as its backbone, the production fully embraces Spanish dance, vivid characters and the sweeping spectacle that makes classical ballet so wondrous.
The story follows the eccentric Don Quixote and his loyal companion Sancho Panza, but the real heart of the ballet is the fiery Kitri and the charming Basilio. As their love story unfolds through disguises, rebellion and determination, Don Quixote’s adventures provide comedy, chaos and plenty of heart. The ballet balances humour and sincerity, showing that even the wildest, most fantastical stories are grounded in recognisable human emotions.
As usual, Birmingham Royal Ballet is in outstanding form. Every dancer shows off a combination of technical precision, stamina and personality, rising to the challenge of this demanding production. Whether in lively ensemble scenes or quieter romantic moments, the company’s confidence and energy are clear. This particular production was blessed to have a guest principal, Genevieve Pennabity, as the leading lady.
Mathias Dingman brings youthful energy and vibrancy to Basilio, opposite Pennabity’s spirited and vivacious Kitri. Their duets are sublime, drawing genuine gasps from the audience as they express their love through movement. Kitri’s castanet dance is a particular highlight, bursting with punch, colour and personality.
Ludwig Minkus’ energetic score, performed live by the Royal Ballet Sinfonia, drives the action forward with infectious charm. Fast, rhythmic passages bring excitement and urgency, while softer moments allow intimacy and emotion to shine. The live orchestra fills the theatre with warmth, excitement and a touch of magic, creating a dazzling, immersive experience that grabs you from the first note and never lets go. The sparing use of silence and vocal moments is equally effective; the audible gasps as Kitri lifts her leg higher and higher, and Basilio’s blown kiss cutting through the stillness, creating memorable theatrical moments.
The set design transports the audience to a lively Spanish courtyard, an enchanted forest and a gypsy country landscape, where this large and talented cast socialises and dances with infectious joy. The lighting is equally effective, seamlessly guiding us from day to night with subtlety and care.
As with many traditional ballets, the narrative itself is relatively slight. The focus is largely on beautiful lovers and comic secondary characters which, at times, can feel a little dated. Don Quixote himself can feel somewhat two-dimensional; during some of the most visually striking balletic moments, he is present but dramatically underused, often observing rather than contributing meaningfully to the action. At one point, he simply moves from stage right to stage left merely switching tables to drink at. At times, it raises the question of how essential he is to the overall dramatic momentum. However, the dancing and music more than compensate, delivering a performance that is visually and emotionally engaging.
Don Quixote is an enjoyable evening for those who appreciate traditional ballet. It stays true to its roots, while the music and performances elevate what is, at heart, a relatively simple story into a production full of humour, romance, and lively entertainment. Although the necessity of Don Quixote’s presence in the narrative can sometimes feel questionable, the dancing remains bright, playful, and utterly theatrical. This is a show that proves why this much-loved ballet continues to captivate audiences everywhere. Unlike many modern productions, however, it is presented in three acts—so bring snacks!
*** Three stars
Reviewed by: Sophie Eaton