Don Quixote at Sadler’s Wells

Don Quixote arrives at Sadler’s Wells for a highly anticipated two-day run, with director Carlos Acosta transporting the audience to a playful, romantic Spanish setting that begins with a vision. The nobleman Don Quixote dreams of a woman in white, Dulcinea, and, convinced he is a knight, sets off on a misguided quest. Meanwhile, Kitri (Momoko Hirata) is in love with Basilio (Mathias Dingman), despite her father Lorenzo’s insistence that she marry a wealthy nobleman, Gamache.

Acosta’s take on the classic story is lively, humorous, and inclusive, with the full company helping to shape the atmosphere of each scene. During Kitri and Basilio’s wedding, the ensemble claps and cheers in the background, reinforcing the celebratory tone. This motif runs throughout, particularly in the flamenco-inspired sequences, where the rhythm of clapping becomes part of the choreography. Whenever Kitri appears in her striking red dress, it signals another energetic, crowd-pleasing moment.

The production feels rich and layered, with inventive staging that keeps the action engaging. Dancers interact with props such as flags, while Kitri and Basilio even perform atop a wheelbarrow, adding a playful edge. The choreography is expressive and athletic, making full use of lifts, height, and classical technique. Dingman’s fouetté sequence stands out, and his chemistry with Hirata brings warmth and charm to their whirlwind romance, mostly in their early scenes together.

Costume design by Tim Hatley is a visual highlight, with Spanish-inspired pieces that shimmer under the stage lights. Each costume helps define character and setting, from the villagers’ modest attire to Kitri’s flowing dresses in bold colours. Her act three tutu, a white design with gold detailing, arrives at just the right moment during the celebrations. One weaker element is Gamache’s costume; although its exaggerated style adds to the comedy, the bright wig feels excessive and slightly distracting. Although you do have to be a fashionista to pull off bright yellow.

Despite this, the production comes together as an engaging and cohesive love story. Lighting is used effectively to signal shifts in mood, from soft blues in lighter moments to darker tones when tension builds. The Garden of the Dryads is particularly memorable, with pale yellow light and trailing vines creating a dreamlike setting that draws the audience into Don Quixote’s mind.

The score, conducted by Paul Murphy, is a standout feature, with vibrant percussion lending the production a buoyant, almost cinematic quality. The symbol and the drums are highlights. For those who enjoy romance with a touch of humour, Don Quixote makes for a thoroughly entertaining evening.