Everything about the Boston Ballet's production of "Don Quixote" is lavish. No expense was spared, and from costuming to choreography to the theater itself, the entire show oozes luxury.
This is certainly appropriate, since this ballet is such an integral part of the Boston Ballet's history. When Rudolf Nureyev first produced and danced in this work in 1982, he brought the first international notoriety the company had ever seen. Last performed at the Boston Ballet in 2003, "Don Quixote" is a classic part of the company's repertoire.
Nureyev's interpretation focuses on the romance between a poor barber, Basilio (Yury Yanowsky), and the daughter of an innkeeper, Kitri (Lorna Feijoo), rather than the eccentric Don Quixote (Pavel Gurevich) of Miguel de Cervantes' 1605 novel.
Kitri's father is intent on marrying her off to the wealthy Gamache (Jared Redick). Her heart is set on the poor but amiable Basilio, however, leading to a slew of troubles for her anxious father. Don Quixote trails after the group from scene to scene, causing trouble and offering hapless solutions, resulting in a thoroughly enjoyable and often humorous rendition of the classic tale.
Nureyev's focus on the relatively minor characters from Cervantes' novel is not new. Louis Milon first conceptualized this idea in 1801 in a production at the Paris Opera. Nureyev's is original because of the way he uses humor and parody, however, and the way he integrates acting into the libretto. The show, while a lavish example of bravura dancing, is almost operatic; short, comical "recitatives" interject more expressive, technically demanding "arias."
Artistic Director Mikko Nissinen said in a Boston Ballet press release, "I feel that Rudolf Nureyev's 'Don Quixote' is the best version of this ballet being performed today. It's the most whole. The story is well told, and everything is tied together from beginning to end. The production is true to its Russian roots, but Rudolf brings more depth and complexity to the choreography."
Not only is the dancing complex, the show boasts an enormous cast and costuming to match, as well. Lush sets full of Orphist skylines and dramatic dream-like backdrops are completely engaging. Nicholas Georgiadis deserves many accolades for his direction here. Perhaps his great success with this production stems from his long working relationship with Nureyev; Georgiadis has choreographed a number of Nureyev productions from "Swan Lake" to "Sleeping Beauty."
There is almost too much talent involved with this show. A plethora of skilled dancers in the chorus results in many crowd scenes, and solos are often set against the busy backdrops of an enormous chorus. This occasionally overcomplicates certain scenes, drawing the eye across the stage in a frenzy of swirling tutus.
Nureyev is famous in the world of ballet for the way he elevated the status of male dancers from supporting performer to equal partner. This is certainly evident in the Boston Ballet's production; an explosion of technical bravado from male and female dancers alike characterizes the entire evening.
The score, by Ludwig Minkus, was arranged by John Lanchbery. The orchestra was a little thin at times, but its precision of timing was impeccable. The music and the movement of the dancers were integrated completely. Sometimes this led to awkward pauses in the music if a dancer took a few liberties in time, but Jonathan McPhee conducted with a sage eye.
"Don Quixote" is a delightful romp of technical skill and feel-good comedy. To see this production in the extravagant Wang Theatre only heightens the experience. Full of lush details and highly skilled dancing, Nureyev's "Don Quixote" is a huge success.
