The company worked with Rudolf Nureyev and Robert Helpmann for the legendary 1973 film – which it has now recreated for the stage
t first glance, Miguel de Cervantes’ Don Quixote is an unlikely source for a ballet: its two leads are an old man and a portly squire, both comically ill-equipped for the adventures on which they embark. There is a kind of rough nobility to them but it comes in direct contrast to their physical capabilities. And yet Rudolf Nureyev, one of the most powerful, athletic ballet dancers of all time, turned it into a vehicle for his own prowess.
Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Nureyev clearly wants his lovers to shine, and Guo and Kondo rise magnificently to the occasion. The choreography in this first act is furiously paced and endlessly complicated but the dancers make it look joyful. Lightening-fast legwork and intricate phrasing make way for soaring leaps and swooning dives; the dancers’ lines and extensions here are remarkable, but effortlessly so.
Where the first act is robust and fiery, the second is more delicate. An extended scene with Don Quixote imagining himself surrounded by nymphs is gorgeously danced by the corps – although it sometimes feels dangerously close to a geriatric sex fantasy – and an early pas de deux with Guo and Kondo, she draping a large piece of material behind her, is luxurious and sensual.
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