Don Quixote dance review: The perfect antidote to darker, colder nights

The men stole the show: Sambe was pulling out all the stops with magnificent elevation and Joseph Sissens was a compelling Espada – all eyes are on him whenever he dances.

Marcelino Sambé as Basilio in Don Quixote, The Royal Ballet, (c) 2019 ROH. Photographed by Andrej Uspenski (2)

Marcelino Sambé as Basilio (Photo: Andrej Uspenski)

The stage looks beautiful, with effective designs by Tim Hatley. The sets shift cleverly and the windmill scene is well done (you cannot have Don Quixote without giant windmills). The costumes are ravishing, especially for Kitri and her friend Mercedes (beautifully danced by Mariko Sasaki). Praise too, for Isabella Gasparini as Amour in Act II: she zipped through her speedy solo with ease and looked like she was really enjoying herself. Gary Avis made the most of Don Quixote – there is not that much to do apart from staggering around the stage looking befuddled.

Aside from the accompanying oohs and aahs by the company (how strange it is to hear the dancers’ voices), the music, by Minkus, does not have that much of a Spanish flavour to it. However, there are some wonderful melodies and the final pas de deux is sublime. (I cannot erase memories of John Curry’s skating triumphs whenever I hear it, but that shows my age.)

Several casts will be dancing the lead roles over the next few weeks so if you want a dose of sunshine before winter sets in, go along to the Royal Opera House for some Mediterranean magic.

Don Quixote is at the Royal Opera House until 17 November