Carlos Acosta’s superb choreography shapes a joyous and beautiful production
Don Quixote by the Birmingham Royal Ballet | The Lowry, Salford | 5th March 2026
Reviewed by Bethany Applebee
According to Timotheé Chalamet, no one cares about ballet anymore. But if he’d actually visited the ballet recently, he’d know there are plenty of people who disagree. Sitting in the Lowry theatre, seeing it full of people of all ages, mesmerised by the beautiful and awe-inspiring display of human strength and agility of which the Birmingham Royal Ballet’s Don Quixote (choregraphed by Carlos Acosta) is comprised, I can say for certain that the art of ballet is well and truly alive.
Don Quixote is a glittering and, at times, whimsical spectacle, full of humour, flamboyant costumes, and breathtaking displays of physical prowess. The original story of Don Quixote (Dominic Antonucci) is the tale of a man deluded by reading tales of knights and on his own fever dream mission to become one himself. However, the story of the ballet is really the story of a young couple, Kitri (Beatrice Parma) and Basilio (Enrique Bejarano Vidal) falling in love. Don Quixote’s travels and misunderstandings provide a background comic structure moving us through the story. As such, Quixote (Dominic Antonucci) is often to the side, watching the love blossom between this young couple.
Watching Don Quixote and his faithful servant Sancho Panza (Alfie-Lee Hall) as they blunder through Spanish courtyards, gypsy encampments and mythical forests, fighting for love, honour and occasionally fighting demonic windmills, is delightful. The sets are simple, bold, and beautiful. The lighting is often chiaroscuro-like, creating an enchanting atmosphere. There was an audible gasp of delight from the audience when the curtain rose for the second act, revealing a magical forest with glittering vines hanging down, while nymphs in white tutus swirled and frolicked amongst the trees.
Ballet, being physical and sometimes intimate, is particularly suitable to portraying love. It might be surprising, given that this is an art form that is over five hundred years old, that watching people twirl, prance, and leap into each other’s arms feels so immediate and relatable. The emotion is deeply felt thanks to the passionate performance of the ensemble. The group routines are extremely compelling: the sensual dance of the gypsies; the dramatic flair of the courtyard dancers with their flowing skirts, fans and maracas snapping to the music; matadors soaring through the air with perfect timing, exuding gleeful camaraderie. It’s enough to make you want to get up on stage and join in with them. It’s funny, too – there’s a pantomime-esque comicality with enjoyably over-the-top performances that bring levity and life, as well as contributing to character development.
This is a show that lingers long in the memory thanks to the BRB’s exceptional talents and physical strength. Basilio flinging Kitri into the air as if she’s merely a doll. Kitri floating through the air only to land, somehow, perfectly on Basilio’s shoulders. Basilio holding his love in the air with one hand as the music stops and the crowd cheers, a remarkable and graceful demonstration of strength and coordination made to look effortless. I suppose that’s the magic of ballet – the seemingly impossible, done lightly and with grace. Chalamet’s approval isn’t needed, as there will be plenty of people ready lap it up when it’s this good.
Reviewed by Bethany Applebee