Review: Don Quixote brings colour, romance and world class ballet to Plymouth
By Bracken Jelier
Carlos Acosta’s Don Quixote, performed by Birmingham Royal Ballet at Theatre Royal Plymouth (19th - 21st March 2026), was one of those evenings where you feel completely immersed from the moment the curtain rises. It is a ballet full of warmth, humour, romance and spectacle, but what really struck me most was how enjoyable and accessible it felt while still delivering everything you would hope for from a grand classical ballet. This is not a production that feels distant or difficult to connect with. It feels generous, vibrant and full of life and, for Plymouth audiences, it is genuinely wonderful to have Acosta’s version of such an iconic work here on our doorstep.
One of the things I loved most about this production was the sheer visual impact of it. Every time the set changed and a new act began, there was that little intake of breath in the auditorium. The design is absolutely stunning and there are moments where your eyes genuinely do not feel wide enough to take it all in. My own favourite was probably the windmill scene, which was just incredible. The scale of it, the atmosphere, the way it suddenly opened up the stage into something so dramatic and theatrical, was extraordinary. The projections throughout the production added so much detail and depth and at times they were almost mind boggling. Reading afterwards that video and projection design was by Nina Dunn made perfect sense because it felt so beautifully integrated. It never felt like projection for the sake of it. It helped create the world.
The gypsy scene was another real highlight for me. It had such richness and texture to it and felt visually thrilling from every angle. The gypsy costumes were brilliant and some of my favourite costumes in the whole production. They gave that whole section such a strong identity and sense of energy. More broadly, the costumes throughout were beautiful. This really is a classical ballet in the best sense, and there is something deeply satisfying about seeing ballerinas who really look like ballerinas, in costumes that embrace all the romance and tradition of the form.
The dream sequence was also magical. The scene with the tree and the dryads, with those sparkling silver tones and white tutus, felt like every little girl’s dream of ballet brought to life. It had that perfect sense of fantasy and softness that makes classical ballet so transporting. Samara Downs as the Queen of the Dryads brought grace and stillness to the role, and Daria Stanciulescu as Dulcinea had a beautifully ethereal presence. Tzu Chao Chou as Amour added another layer of elegance to a scene that was already visually spellbinding.
In terms of performances, the dancing was accomplished across the board, but the principals were especially impressive. Beatrice Parma as Kitri was absolutely captivating. She had exactly the right combination of sparkle, confidence and strength and felt totally at home in the role. She was technically brilliant, of course, but never cold or overly polished. There was real character in her dancing and she made Kitri feel fiery, playful and completely believable. Max Maslen as Basilio was a wonderful match for her. He brought charm, warmth and a relaxed confidence that made the relationship between them feel convincing and full of life. Together they had the kind of chemistry that holds the whole ballet together.
I also absolutely loved Amelia Thompson as Mercedes. She brought such power and flair to the role and was impossible not to watch when she was on stage. There was something so commanding and stylish about her performance. Haoliang Feng as Espada had great presence too, adding real swagger and theatricality, and Rory Mackay as Gamache was wonderfully done. Jonathan Payn as Lorenzo brought clarity and authority to the role, and Dominic Antonucci as Don Quixote himself gave the character a lovely dignity. Olivia Chang Clarke as Sancho Panza added great comic texture. One of the strongest things about the whole production was the characterisation. It was always perfectly clear who everyone was. Every character felt distinct and well drawn, which is part of what makes this such a good ballet for people who may not go to ballet often.
That, for me, is one of the greatest strengths of this production. If someone told me they were not sure whether ballet was for them, Don Quixote would actually be a brilliant one to recommend. It has so much humour in it, so much romance, and so many strong, interesting characters. There is always something going on. It never drags and there is never a dull moment. The programme describes the ballet as being almost like a romantic comedy for 21st century audiences, a ballet about ordinary people striving for happiness, and that really does feel true. It has lightness and heart, but it also has all the technique and beauty that ballet lovers want.
Carlos Acosta writes in the programme about Don Quixote being his favourite ballet and describes it as sunny, exotic and full of colour, with amazing Spanish flavour. You could feel that all the way through this production. There was a warmth to it that made it feel hugely enjoyable, and that Spanish energy ran through the movement, music and design. He also talks about creating a version that is lighter and more tourable for Birmingham Royal Ballet while still feeling grand and beautiful, and I thought that balance came across brilliantly. It felt lavish and world class, but never weighed down by itself.
And that is important because Birmingham Royal Ballet is a touring company, and there is something really special about a production of this quality coming to Plymouth. It gives local audiences the opportunity to see world class ballet without having to travel far beyond the city. That should never be underestimated. To have Acosta’s version of Don Quixote here at Theatre Royal Plymouth feels significant. It is exactly the kind of production that reminds you how important it is for cities like ours to have access to this level of performance.
The music was another huge part of the evening’s success. The Royal Ballet Sinfonia, conducted by Paul Murphy, was incredible as always. The orchestra brought such richness, momentum and emotional colour to the performance. There were moments where the music seemed to lift everything on stage even further. The inclusion of on stage guitarists, Tom Ellis and Dan Thomas, added to that wonderful Spanish atmosphere and made the whole thing feel even more vivid.
I also appreciated the pacing of the evening. There are two intervals, which really does help in a ballet of this scale. It gives you a chance to stretch your legs and absorb what you have seen. While the first act is certainly the longest, the second and third acts did not feel overly long at all, and by that point the production has drawn you in so completely that the time passes easily.
What stayed with me afterwards was just how joyful the whole thing felt. This was ballet with personality, confidence and heart. It was visually stunning, beautifully danced and full of theatrical imagination, but it was also fun. That matters. It felt like a production that welcomed everyone in, whether you were a lifelong ballet lover or someone just wanting a lovely night at the theatre.
For me, the windmill scene, the gypsy scene, the dreamlike dryad world, the costumes, the projection, the music and the strength of the principals all came together to make this a really memorable evening. Birmingham Royal Ballet’s Don Quixote is classical ballet at its most entertaining and most alive, and Plymouth was lucky to have it.
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Important information: Recommended for ages 5+, Don Quixote runs for 2 hours and 45 minutes, including one 20 minute interval and one 25 minute interval. A pre performance talk will take place on Fri 20 Mar at 6.30pm, and Class on Stage is available on Sat 21 Mar at 10.45am. The production includes dry ice and haze, and audiences should be aware that flashing lights and loud sounds may feature. A range of concessions are available for members, groups, schools, multibuy bookings and families, subject to availability.
