Review of ‘Don Quixote’ (2026, Sadler’s Wells): “Lavish production doesn’t tilt at windmills, but its execution isn’t a giant”

They’ve honoured the classic. Not the novel- that was already butchered by Minkus back in the 19th century -but its ballet adaptation. Don’t expect herds to be attacked as enemy armies or galley prisoners to be unlawfully freed. Instead, this is another love story presented under the lens of the romanticised Spanish mythos. As such, anachronic toreadors take over the scene and nonconformist gypsies engage in seductively aggressive dances.

It is what it is. And it’s not the Birmingham Royal Ballet’s mission to set the record straight for what, in the end, is widely considered one of the most popular pieces of its genre and its time. Ultimately, it has everything anyone could expect from a traditional work of its kind: a lush, tuneful score; a thin, easily understandable plot; and lots of unmotivated sequences included for no other purpose than to let the performers show off.

Carlos Acosta’s approach features the same highs and lows as the company’s recent productions. On the one hand (no pun intended), there are the lavish stagings, which are the group’s signature stamp — and, admittedly, their greatest accomplishment. This is no exception.

A sumptuous array of practical sets transports us into an idealised Spanish town infused with the allure of an old Castilian bodega, while backdrop animations intricately portray Don Quixote’s chivalry-inspired delusions. In addition, an endless display of elaborate costumes, ranging from flamboyant noblemen to exuberant bailaoras, rounds off this utterly impressive visual extravaganza.

Hans Vercauteren’s treatment of the score demonstrates care for the work’s contemporary essence. As a result, the piece brims with a Tchaikovskian flavour, which is primarily captured by a distinctive use of woodwinds and strings. Furthermore, Music Director Paul Murphy conducts with melodic flow and grace, although an underlying touch of flatness pervades- and occasionally overtakes -the rendition.

The choreography shines intermittently during the corps’ excerpts, which are sometimes delivered with precision and rapport. Sadly, many other segments are affected by a slight yet noticeable sense of incoordination, where the feeling of togetherness is either blurred or completely evaporated. Simultaneously, most of their dance moves, either from the ensemble or a principal, fail to impress. On the whole, they come across as too safe and hardly internalised, inevitably leading to a stiff look that struggles to convey ease and organicness.

Some exceptions can be made, however. And in that regard, praise is rightly due. Samara Downs makes one of the most memorable appearances thanks to her captivating presence, passionate execution, and overall command of the material. The highest mention, nonetheless, goes to Matchas Dingman, for his exceptional prowess in his solo numbers, all of which teem with adequate flair and outstanding bravura.

Despite regaling viewers with a scenographic tour de force, the troupe’s thin lack of finesse forces this latest incarnation of Don Quixote to get off its high horse. Although generally enjoyable and sometimes arresting, there’s not enough resourcefulness to become the fantasy that neither its protagonist nor creatives wish it to be. Eventually, just like in the book, reality hits. And it doesn’t call for an insanely good outcome.

Don Quixote plays at London’s Saldler’s Wells until 25 April. Tickets are available on the following link.

All pictures credit to Tristram Kenton.

By Guillermo Nazara