In his second season as director of the Royal Ballet, Kevin O’Hare has showed no signs that his ambition will recede. The prestigious London company’s new production of Don Quixote encapsulates their hunger for innovation – it’s fair to say that the only thing that remains status quo in this adaptation of the Cervantes classic is the story.
Legendary Cuban dancer Carlos Acosta accepted an invitation to not only dance in the piece, but work his magic in updating the well-worn story as choreographer. After reviewing previous versions, he decided against a pure revival of the classic.
Rehearsals got underway during last year’s season, as the ballet’s principal dancer Marianela Núñez remembers fondly.
“He gave us the chance in this production to be very human,” says the Argentinian, who stars as runaway inn-keeper daughter Kitri. “I love this as you can be yourself and explore things while building your character. And this makes the production wonderful.”
A member of the Royal Ballet since she was 16, Núñez admits she’s privileged to be able to dance in a range of productions. However, her connection with Don Quixote runs deep.
“I was the happiest girl in the world when I found out I got my contract from the best company in the world,” she says. “In 2002 after performing as Kitri alongside Carlos, I was promoted to principal dancer. That was the best memory for me as my biggest dream came true. The chemistry between us came naturally. We didn’t have to work on it.”
Despite that adaptation’s success, this Don Quixote has been given a reboot. Its debut in London’s Covent Garden last September revealed its modernized soul showcasing gigantic semi-robotic grass horses in a rotating set capturing all the piece’s locations.
Apart from these pleasant surprises, Acosta changed several signature moves while maintaining the high standard of dance that Don Quixote has enjoyed since it was first adapted in ballet form in 1740 by Franz Hilverding in Vienna.
Fellow Royal Ballet principal dancer Thiago Soares confirms the change but adds, “This does not affect this dance in general. Instead, he made most of us dance all over the stage, which is quite different and remarkable too.”
Growing up in Brazil, where ballet’s popularity paled in comparison to other dance forms, Soares trained in varied styles from breakdancing to circus performances. He started studying ballet at 18 after being recruited by a local ballet school desperate for male dancers.
Despite starting his ballet training late, Soares quickly rose up the ranks. He guested with and toured alongside the leading Kirov Ballet troupe and joined the Royal Ballet in 2002.
“You won’t believe it but my first performance wasn’t even dance related,” he laughs. “I was told just to walk onto the stage and act as a coffin-carrier for a few minutes.”
Fortunately, that surreal experience didn’t drag him down. He was promoted to principal dancer in 2006 and in Don Quixote stars as Basilio, Kitri’s forbidden love.
It’s an apt pairing as Soares and Núñez are a couple off stage. Núñez believes their inherent chemistry will shine during the show.
“We have been dancing together for many years now and the trust built between us is amazing. To share the stage with him is very special to me,” she says.
Besides this sweet couple, Don Quixote stars fellow Royal Ballet principal dancers like Sarah Lamb, Frederico Bonelli, Akane Takada and Matthew Golding in what will be this adaptation’s Mainland debut.
// July 3-5, 7.15pm, with a 1.30pm on July 5, RMB80-1,280. Shanghai Grand Theatre, (400 610 3721, en.damai.cn)
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