DON QUIXOTE performed by the BIRMINGHAM ROYAL BALLET and directed by CARLOS ACOSTA. The Lowry - Sat 7th March 2026

Review written by TreTre.

I had seen many ballet performances over the years, but this was my first opportunity to see Don Quixote. Taking my seat in a full theatre, I was immediately enthralled by the mix of languages around me—Greek, Italian, and American accents drifting from the rows behind. I couldn’t help wondering if they were proud family members of the dancers.

The theatre was filled with people of all ages, all eagerly waiting for the curtain to rise. Don Quixote, revived and directed by Carlos Acosta, carries a long legacy. The story itself comes from The Ingenious Gentleman Don Quixote of La Mancha, the Spanish novel by Miguel de Cervantes, originally published in two parts in 1605 and 1615.

Curtains up. 
The sound of the live orchestra rumbled through the auditorium—spectacular. The first thing I noticed was the size of the cast. The set design throughout the show was remarkable and created a rich atmosphere, especially the scary windmill scene, but the costumes were on another level entirely. So much detail, so much colour, so much authenticity. There were tutus, matadors, gypsies, and beggars, every one of them brought to life through their striking, meticulously crafted costumes.

Each act was full of humour and sensuality. The principals, Beatrice Parma and Enrique Bajarano Vidal, danced the roles of Kitri and Basilio beautifully. They took your breath away. Their chemistry was so convincing that you almost wondered if they were a couple offstage. They performed lifts that made the audience gasp, and Beatrice Parma completed more than thirty pirouettes in a row. Outstanding.

Don Quixote himself was danced by Dominic Antonucci, the artistic director. I only wished the character danced more instead of leaning so heavily into the old‑man routine.

Amour, danced by Riku Itu, on opening night, was absolutely sensational. He poured his whole heart into every movement, and it radiated across the stage. What a performance — what a dancer — what an utter delight to witness. More, please!

Despite the numerous cast changes on opening night, I felt profoundly privileged to witness the performers who ultimately graced the stage. What they delivered was nothing short of extraordinary. They stepped into their roles with unwavering passion, fierce commitment, and a depth of artistry that left the entire theatre humming with electricity. 

During the campfire scene in Act II, two non‑dancers — yet esteemed musicians in their own right — stepped into the moment to play their guitars. One of them was Tom Ellis, who only last year had been performing in the rhythm section for Black Sabbath. Watching him shift from rock stages to this intimate, glowing tableau added a whole new layer of magic to the scene.

After watching more than fifty ballet performances in my life, this was the first time I had ever heard the cast speak onstage. They cheered, clapped, and exchanged small bits of dialogue in Spanish as part of the performance. It was unbelievable—and refreshing.

My conclusion was that Don Quixote was drowning in delusions and crushing loneliness. He could no longer separate reality from the wild dreams that consumed him. Sad, painfully sad. It left you longing for him to find someone—anyone—who might love him back. You wanted to wrap your arms around him and give him a big hug.

Meanwhile, the ridiculous, pampered nobleman Gamache, played by Johnathan Payne, somehow managed to stumble into love. The old adage proved itself yet again: money talks, even when the man behind it is utterly absurd.

This revived rendition of Don Quixote was nothing short of wonderful. Three acts, two intervals, and yet the hours slipped by as if enchanted.

And the saying really is true: if you adore ballet—especially classics like Swan Lake or Le Corsaire—you’re almost guaranteed to fall in love with this show.

9/10.

2026 Upcoming Tour Dates & Venues

Theatre Royal Plymouth: 18–21 Mar 2026

Mayflower Theatre, Southampton: 15–18 Apr 2026

Sadler's Wells Theatre, London: 23–25 Apr 2026 

Ticket Information

Tickets can be booked through the Birmingham Royal Ballet website.