Dance review: Don Quixote, His Majesty’s Theatre, Perth

Based on Miguel de Cervantes’ 17th-century novel, Don Quixote, Marius Pepita’s beloved ballet has been delighting audiences since 1869. This reimagined production was originally commissioned by West Australian Ballet in 2010, and sees renowned Australian Prima Ballerina, Dame Lucette Aldous AC reimagine the choreography after Petipa’s original. An additional sequence is choreographed by Perth-based flamenco teacher and consultant on Spanish dance internationally, Deanna Blacher OAM.

The titular character is an idealistic dreamer with delusions of chivalry, whose love of reading impairs his ability to distinguish between reality and fantasy. Upon deciding to become a medieval knight, Don Quixote (Jack Whiter) and his ‘squire’ Sancho Panza (Lorenzo Lupi) traverse the land in search of adventure. 

Along the way, they encounter a young couple, Kitri (Chihiro Nomura) and Basilio (Oscar Valdés). Kitri’s father, Lorenzo (Ludovico di Ubaldo), wants Kitri to marry the wealthy Gamache (Adam Alzaim), but Kitri refuses. Antics ensue. 

In short, this romantic comedy is based on characters from a book about a character inspired by characters from books – very meta. Playfulness permeates every moment, proving this ballet isn’t just technically accomplished and visually stunning but also authentically funny. 

Don Quixote is almost a peripheral character in this pantomimic ballet, which focuses more on the Kitri/Basilio love story and less on the epic adventures of the optimistic eccentric and his loyal servant. And yet, every time the Don rolls in on his steed (a literal barrel, pulled by Sancho Panza) his acute case of main character syndrome translates as comedy gold, capturing the rapt attention of the audience without exception. 

Whiter and Lupi (as Quixote and Panza, respectively) are a sight to behold, leaning aptly into intermittent mime and subtle slapstick while expertly maintaining adequate elegance. In one particularly entertaining moment, as Sancho Panza is tossed repeatedly into the air, Lupi’s dramatic head-turns and limb-flailings elicit audible audience laughter. Whiter embodies Quixote with flair, from his defeat at the hand of a windmill to the most amusing sword-fight in any ballet, ever. During the vision sequence, Whiter exudes physical longing for Dulcinea, encapsulating the feeling of longing that comes with chasing a dream, only to oneself grasping at empty air. 

Polly Hilton and Juan Carlos Osma mesmerise as Mercedes (a street dancer) and Espada (a famous bullfighter), with magnetic characterisation and flawless technique. Adam Alzaim is hilarious as the wealthy fool, Gamache, who tries unsuccessfully to woo Kitri. Alzaim steals the stage – even during Don Quixote’s moment with Kitri – prancing petulantly as he longs for his openly uncooperative intended. 

Chihiro Nomura and Oscar Valdés are unforgettable as Kitri and Basilio, from their initial pas de deux to their breathstopping wedding solos. There are several lifts in which time stood still, and some next-level pirouetting occurs towards the end, denoting the joy and triumph of love (and trickery) prevailing. 

Every scene appears as a fully populated world. There is always something going on in the background, from mimed conversations to lovers’ spats – not one dancer is a glorified prop. Characterisation is communicated through colour, costume, expression and movement, with impressive attention to detail.

Allan Lees OAM’s sets and costumes work in aesthetic harmony with Jon Buswell’s lighting design, aware of how silhouettes and materials will interact with backdrops, colours and each other. The warm neutral tones of the townspeople contrast against the brightness adorning Kitri, Basilio, Mercedes and Espada, highlighting their personalities and importance. Side note: Mercedes’ dresses are especially delectable. 

The garb of Gamache and Sancho Panza represent their respective characters, from Panza’s grey-ponytail/receding bald-cap to Gamache’s fanciful finery. The wedding costumes are simultaneously simple and opulent, as are those of the Dryads and Cupid. Don Quixote’s well-balanced armour has just enough pomp for the audience to absorb his courageous silliness (especially in conjunction with his steed/barrel) while simultaneously conveying the Don’s intended heroic persona. 

The town scenery is delightfully Mediterranean, with a real sense of depth. Light shifts over the course of the first act, moving through the hours, and the full moon shifts across the sky as night passes – a nice touch. Later, stars and fog appear, creating surreal scenery befitting a self-proclaimed knight in reverie. 

Scene changes are cleverly executed, complete with flying book pages that function as both a nod to the source material, and as a symbolic reference to the power of imagination at the heart of this timeless tale. 

Lucette Aldous’ choreography is layered, but never chaotic. Her reimagining of Pepita’s demanding choreography retains the technical brilliance of the original, while emphasising the charm and humour of the story and its characters. Dancers embody various dreamlike, dramatic and comedic aspects of the story, with exquisitely executed movements.

As always, the brilliant Jessica Gethin (Principal Conductor) and West Australian Symphony Orchestra don’t miss a beat, immersing audiences in Ludwig Minkus’ score, arranged by John Lanchbery. 

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Don Quixote moves through many moods and emotions, all while maintaining an energetic lightness. Nothing is ever static; several sets of eyes are required to fully appreciate the richness of detail occurring in the background at any given point, making this ballet well worth seeing twice. 

Technically difficult and frivolously fun, Don Quixote leaves its audience joyous. This world-class production, masterfully performed by WA Ballet, is not to be missed. Call your squire, get on your barrel and roll yourself down to His Majesty’s Theatre.

Don Quixote
West Australian Ballet
His Majesty’s Theatre, Perth
Choreographer: Dame Lucette Aldous AC after Marius Petipa
Choreographer (Fandango): Deanna Blacher OAM
Staging Directors: Craig Lord-Sole, Reika Sato, Leanne Stojmenov
Artistic Advisor: Floeur Alder
Set & Costume Designer: Allan Lees
Lighting Designer: Jon Buswell
Music: Ludwig Minkus
Musical Arranger: John Lanchbery
Principal Conductor: Jessica Gethin
West Australian Symphony Orchestra

Cast: Chihiro Nomura, Oscar Valdés, Jack Whiter, Adam Alzaim, Panza Lorenzo Lupi, Ludivico Di Ubaldo, Polly Hilton, Juan Carlos Osma, Jurgen Rahimi, Alexa Tuzil, Mayume Noguromi

Tickets: $30-$139
Don Quixote will be performed until 31 May 2025