DON QUIXOTE

Review by Celia Ipiotis

Out-sized characters fill the Metropolitan Opera House stage in ABT’s full length ballet Don Quixote. Based on the choreography of Marius Petipa, Don Q gets a new sheen due to choreographic and production alterations by ABT Susan Jaffe, Artistic Director and Susan Jones, regisseur. As a result of the alterations, nothing of significance is eliminated, but it reads cleaner and the solos stand in relief from the large groups.

Set in a sunny Spanish town,  the beautiful maiden Kitri (Chloe Misseldine) is madly in love with the handsome, but poor, Basilio (Aran Bell). Naturally, Kitri’s father, Lorenzo (Tristan Brosnan) wants his prized daughter to inherit a massive dowry and lodges himself as a human barricade between her and Basilio.

Known for its Latin flair, fans spray open and backs twist against the hips in potently flirtatious stances. Misseldine wears her character’s playful girlishness with flair and taut technique. The  gleefully womanizing Bell, insistently woos her, and a few other ladies on the side. 

When the pompous, neon blue clad nobleman, Gamache (Duncan Lyle) prances into view, tripping and prat falling, the fun cranks up. Throughout the comedic hijinks, Kitri tosses off crisp turns and toe-to-back-of-head  attitudes.

Naturally, there’s a famous matador, Espada (Joseph Markay) who preens and swirls his cape in impressive curlicues over his head and around his back. In his trail, Mercedes (Virginia Lensi) leaps and arches. This large-scale production utilizes corps members and soloists throughout the ballet as villagers, Romani and virginal maidens. 

Stumbling into the village, the romantic, and slightly delusional adventurer Don Q (Cy Doherty) sees the beautiful Kitri and mistakes her for his great love Dulcinella. This adds to the mayhem with Don Q chasing Kitri and then racing after her and Basilioto a Romani camp where he falls asleep and dreams of a fantasy land filled with lovely maidens led by Cupid (a fine Breanne Granlund). 

Don Q’s dreamland materializes in the vision of maidens in white surrounded by grey, evening light. Representing the beloved Dulcinea, Misseldine exhibits her centered, lean lines and technical confidence.

Finally, Kitri and Basilio return to the village where he fakes a very funny, self-inflicted death scene. Prompted by Don Q, Lorenzo agrees to allow the two to be married in the face of this tragedy. Naturally, Basilio pops up and the final act explodes with the bravura dancing of both Misseldine and Bell. His buoyant leaps and controlled turns compliment Middeldine’s fouettes peppered with double turns and snappy fan work. Both enjoy a relaxed relationship to their technique allowing  for easy explosions of physical  delight.

EYE ON THE ARTS, NY — Celia Ipiotis