The Australian Ballet started its 60th anniversary season with Don Quixote, a grand gesture to the company’s history. Everything about this production is resplendent: glittering costumes in jewel-toned hues, multi-storied sets, intricate plot requiring subtle comedic timing, and challenging choreography executed to a high calibre. All of these elements culminate in an irresistibly fun and glorious production.
The tale of Don Quixote was made famous by the 1605 Spanish novel by Miguel de Cervantes. The ballet Don Quixote is set to a rich score by Ludwig Minkus, and although it never imprinted into popular culture like other more famous ballets it should not be over looked. This ballet is a real gem and found in the repertoire of most major ballet companies. Don Quixote got traction in the 70’s after a series of reinventions, most notably a film version released in 1973 with The Australian Ballet and choreographed by Rudolf Nureyev, who also danced the leading role of Basilio beside Australian ballerina Lucette Aldous as Kitri, with Sir Robert Helpmann in the title role. The leading pair dance variations that have become the gold standard of classical ballet bravura. The main duet (a Grand Pas de Deux) in Act 3 ticks all the boxes for strength, stamina, skill and theatrical charisma. Audiences are universally awed by the virtuoso display of technical ability and character charm.
The performance was spectacular with towering sets by Richard Roberts, ornate costuming by Barry Kay and alluring lighting design by Jon Buswell. The Minkus score was generously conducted by new Music Director and Chief Conductor Jonathan Lo providing a musical platform for the dancers to shine.
Nureyev’s choreography remains true to the classical format with inserts of folk dance and Spanish matador and flamenco inspired moves. The steps are very fast with intricate foot work and shifting patterns. Some of the most satisfying scenes were ensemble numbers in the first and third Acts, beautifully executed by the company.
The ballet story is largely about the two lovers Kitri and Basilio who flirt and beguile their way out of precarious situations. Principal Artist Ako Kondo as Kitri sparkled like a ruby in her crimson Spanish dress. Kondo was incredibly polished with step execution and her smile was effervescent. The audience was witness to her happiness and love for Basilio. Principal Artist Chengwu Guo danced the role of Basilio with similar charm and aplomb. Their chemistry was palpable; every moment they shared on stage was sheer artistic joy.
This production was dense with theatrics as well as dancing. There was an impressive life-sized puppet horse on stage that Principal Artist Adam Bull rode as Don Quixote slaying multiple windmills. Guest Artist Paul Knobloch was a scene stealing stand-out as Gamache, a competing suitor for Kitri’s attention. His buffoonery and pampered dandy behaviour prompted much audience laughter. Timothy Coleman’s Sancho Panza, Don Quixote’s servant, also provided comic relief to great effect. Featured dancers Jill Ogai and Riley Lapham danced marvellously well in the first and third Acts with eye-catching unison and precision. Marcus Morelli danced to great heights in an impressive whip dance as a Romani in Act 2.
From its cinematic opening to a dramatic finish Don Quixote is a delightful frenzy of colour, with fanciful characters dancing to vibrant music in the most gorgeous of settings. This 17th century quixotic tale turned into a 21st century ballet is sure to impress and delight viewers.
Photo credit: Rainee Lantry
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Paris Wages reviewed “Don Quixote”, performed by the Australian Ballet at Arts Centre Melbourne, State Theatre on March 15, 2025.
