Reviews - Don Quixote

Don Quixote at the Aotea Centre

REVIEWED BY: Bernadette Rae, NZ Herald

A bumbling old grandpops he may well be, with a mop for a horse and a distinctly fuzzy view of reality, but this Don Quixote is just the scintillating, exhilarating, exuberant and gorgeous tonic anyone could need in the prevailing climate of doom and gloom.

Royal New Zealand Ballet artistic director Gary Harris gives the old classic a comic book edge in his new staging and design, with the zingiest colours and sets slightly askew.

Think cerise and magenta, Valencia orange, fluffy white clouds and a sky of cobalt blue. Think glamorous senoritas all swishing skirts, fluttering fans and exaggerated kiss curls under the Spanish sun. Think gypsy caravan in silhouette against a romantic, then sinister, starry sky.Think dream sequence as an exquisite little white ballet.

Then bring all these images to life with some of the best dancing, Petipa-style, yet seen from the Royal New Zealand Ballet.

Yu Takayama is a feisty, flirtatious, funny and breathtakingly beautiful Kitri, in a performance of such character and technical excellence that it makes her departure after this season all the more poignant. She is partnered by the stunning Marc Cassidy, on loan from the Australian Ballet, as Basilio. Shannon Dawson, former RNZB dancer and back guesting this season, is a totally hilarious Father (Chaplinesque with a touch of Hitler) and Abigail Boyle is delectably lascivious as Mercedes. Her hopeless rogue Gamache, by Paul Mathews, is mostly second-placed by "The Dog" - his mechanical wunderpet - until his drunken duet with the aforementioned Mercedes.

REVIEWED BY: Sheryl Robinson, The Press

The Royal New Zealand Ballet's production of Don Quixote is not only a fabulous celebration of Sir Jon Trimmer's fiftieth year with the company, it's a showcase for the considerable talents of the company as a whole.

In a title role, Trimmer proves that he knows how to work a stage and provide the focal point to the storyline. He is both charming in his mad-cap characterisations and proof that adventure can happen at any age.

Yu Takayama as Kitri is stunning. Her dancing is a mixture of fire and fluidity. She has the ability to linger in the air and on pointe. Her charm and character supported by a near flawless technique. Marc Cassidy as her lover, Basilio, in the first act, tended to fade into the background. It was not until the third act that his dancing portrayed the passion that he is capable of.

Abigail Boyle as Mercedes had a seductive hard-edged elegance coupled with superb comic timing in her interactions with the foppish fashion victim Gamache (Paul Mathews).

There were many highlights to this production which drew upon the diverse strengths of the dancing and acting talents of the company. The corp work was tight and cohesive with noteworthy performances from the waiters, the sailors and friends of Mercedes.

Michael Braun as Sancho is the perfect foil to Trimmer. As The Don's nephew, he's a little reminiscent of the comic book character Tin-Tin with his tuft of hair and satchel.

Don Quixote is such a wonderful not-to-be-missed production that a review such as this cannot fully give justice. Simply go along and see it for yourself.

Trimmer a triumph as madcap Don Quixote

REVIEWED BY: Jennifer Shennan, Dominion Post

THE Royal New Zealand Ballet’s new production of this picaresque and madcap ballet has spirit, colour, comedy, pathos, wit, striking design and some smashing good dancing.

The 150-year-old, three-act ballet is something of a warhorse in the Russian repertoire, and there have been numerous productions highlighting different aspects of Cervantes’ 16^th century novel.

This impressive design by Gary Harris, staged with help from Adrian Burnett, works cleverly on several levels, and gives numerous opportunities to more than just soloists.

That said, Jon Trimmer in the title role, achieves yet another triumph of characterisation. Now in his 70^th year, he somehow makes the role resonate with the courage, loyalty and optimism of his own legendary career.

The original ballet’s pas de deux and codas are here placed in a wider context. It is like watching an enormous jigsaw puzzle being assembled with great inventiveness over three hours.

The holographic imagery within the lighting, by Jon Buswell, is a terrific idea, and brings the book into the ballet.

The music score by Minkus is hardly great fare, but it serves the purpose and Wellington Vector Orchestra plays with aplomb.

Shannon Dawson, a former company member with outstanding talent, returns to play the role of café proprietor whose waiters dance in deadpan canon to great effect.

Sancho Panza is well played by Michael Braun and new company recruit Medhi Angot, from France, revels in the role of Cupid.

New Zealander Marc Cassidy, imported back from Australia to dance Basilio, has fine technique and will soon expand into more convincing communication in the role.

Yu Takayama, as Kitri, again displays her brilliant classical technique with exquisite line and balance.

And a cute little dog, made by Chris Covich, is owned by filthy-rich, drunken rogue Gamache, skilfully played by Paul Matthews.

In contrast, Don Quixote’s horse is a mere mop, but nothing will stop this idealist from charging around the countryside, tilting at windmills and dreaming of love.

Thrilling dance moments, gorgeous design elements, pleasing musical cadences

REVIEWED BY: Lyne Pringle, Theatreview

Marking 50 years of his dancing with Royal New Zealand Ballet Company there is a gorgeous moment in Act 1 where Sir Jon Trimmer as Don Quixote executes a few precise ronde jambes and pas de bourrees, gradually these moves are picked up by the rest of the dancers until the whole stage is filled with the steps he has introduced. It is a resonant metaphor for the enormous contribution to the company that he has made and to dance in New Zealand. Viva Jon T!

The overture with the Vector Wellington Orchestra, in fine form, leads to the shambolic bedroom of the 'Don' as he dreams amongst his books of adventure and his romantic fixation on the elusive Dulcinea - nicely conjured with projections.

Gary Harris has staged and designed the work with flair. He desires in this rendering to invite the viewer to question whether the 'Don' is real or imagined - perhaps the fantasies of an old man caught up in the literary marvel of Cervantes. A nice provocation that gives texture to the characterization and the story as does the young nephew as a variation on Sancho Panza.

Through traditional mime sequences - I find myself always struggling with these pantomimic devices and wonder is it time to refresh these traditional and ultimately unbelievable story telling techniques - the scene is set for the quest and we arrive in a village with a cartoonesque and bright set and characters straight from a 50's Fellini movie.

There is a lot to look at as we are introduced to Yu Takayama as Kitri and guest artist Marc Cassidy as Basilio. With her characteristic precise technique - stunning split leaps that hover momentarily - Takayama brings a musicality and grace to Kitri if a little lacking in the earthy Latin passion of the locale. Cassidy is a sympathetic Basilio with shining technique. Their unison is flawless and as sharp as castanets as they make their way with confidence through the variations in Act I.

Returning guest artist Shannon Dawson has always been a great character dancer and in this instance his Hitleresque Father is immediately a hit as he tries to no avail to keep the lovers apart.

Abigail Boyle is sensuous and lovely as Mercedes and Paul Mathews is convincing as a gauche conniving blinged up Gamache: great characters!

The choreography really cooks in a sequence with Mercedes's girlfriends cavorting with sailors with fantastic legs and snooty waiters. The company delivers the chorus work with energy style and a sense of fun as the "Don" racks up the humour stakes galumphing off on his mop/horse!

Act II is very satisfying design-wise and the gypsies bring a much needed rough-it-up-a-bit earthiness to the production. The lovers display tender and assured partnering before the pack set upon Don Quixote leaving him dishevelled and penniless. There are some more affective projections and a giant puppet against the moon to reflect his confused state of mind. Cupid (Medhi Angot) nonchalantly arrives, the light glinting seductively off his bronzed skin as he dances beautifully amongst the clean lines of Driads. This ballet has everything, even an act in white tutus.

In Act III we are back in the cartoon with a great solo from Abigail Boyle as the scene is set for the final showdown with some clever and funny antics from two policemen and stirring footwork a la Flamenco from the company. Eventually the 'Don' retrieves his fortune and the path is cleared for the lovers to wed.

Dawson performs with flair and wit in a brilliant solo with Sir Jon accompanying him on castanets on top of a table - my peak moment of the production: wonderful!

The bride and groom are sleek and stylish in black and white. In the wedding variations we again have the opportunity to enjoy their technique. Flawless fouettes from Takayama and needle sharp turns and legs from Cassidy with great gusto and balon in his leaps.

Throughout the evening there are enough thrilling dance moments, gorgeous design elements and pleasing musical cadences to leave the punters happy as this spectacle draws to a close.