Birmingham Hippodrome – until 21st February 2026
Reviewed by Emma Millward
5*****
Carlos Acosta’s Don Quixote returned to Birmingham Hippodrome this week, having first premiered in 2022 as a modern retelling of the classic novel by Miguel de Cervantes and Marius Petipa’s 1869 ballet. Presented by Birmingham Royal Ballet, with the Royal Ballet Sinfonia performing Hans Vercauteren’s elegant arrangement of the original music by Ludwig Minkus, Acosta honours Petipa’s original choreography while still adding a modern energy that reflects his Cuban heritage and contemporary dance influences throughout the production.
The story follows the comic adventures of Don Quixote (Jonathan Payn) and his loyal squire, Sancho Panza (Olivia Chang-Clarke). Quixote is an elderly nobleman who becomes immersed in the books he reads and begins to believe they are real and that he is a brave knight. He sees visions of the beautiful Dulcinea (Daria Stanciulescu). Clad in a fruit-bowl helmet and riding a cleverly constructed metal horse, he sets off on an adventure with Sancho. Along the way, he meets Basilio (Mathias Dingman) and Kitri (Geneviève Penn Nabity). They are a young couple struggling with the disapproval of her father, Lorenzo (Rory Mackay). Lorenzo wants Kitri to marry the flamboyant nobleman Gamache (August Generalli), but Don Quixote creates a distraction, and the young lovers run away.
The story’s charm and humorous heartbeat come from Don Quixote’s fanciful adventures and Sancho’s cheeky personality, while Kitri and Basilio deliver a believable romantic spark. Penn Nabity and Dingman form an outstanding partnership. Their wedding pas de deux in the third act drew gasps and applause from the audience. Adding further flair to the bustling marketplace scenes are Matador Espada (Lachlan Monaghan) and Mercedes (Samara Downs). Their dramatic and passionate dancing serves as a striking counterpoint to Basilio and Kitri’s more youthful romance.
Visually, the production is stunning with a rich and vibrant colour scheme. Tim Hatley’s set and costume design never fails to impress. From the homely study of Don Quixote’s house, sun-drenched Spanish courtyards and the magical garden of the second act, every set provides a vivid backdrop to the action. The costumes are equally exquisite, featuring deep reds, golds and greens. Every main character is given their own distinct style that makes them instantly recognisable even amidst a busy ensemble. Lighting by Peter Mumford guides us seamlessly through the story, at times you can almost feel the heat of the Spanish sun radiating from the stage. Imaginative video design by Nina Dunn is used to great effect to project windmills coming to life during the Gypsy encampment scenes. The staging by Christopher Saunders strikes a balance between narrative, humour, and spectacle. This allows both principal dancers and ensemble space to shine while keeping the story clear and engaging from the bustling marketplace of Act I to the celebratory wedding finale. While the production is undoubtedly a five star show, a few more scenes featuring Don Quixote and Sancho Panza might have allowed audiences to savour their comic chemistry even further.
A whirlwind of energy, colour and passion, Carlos Acosta’s Don Quixote proves classical ballet can still dazzle and delight audiences.