Is there a narrative ballet with less meaningful plot than Don Quixote? Don’t go looking for Cervantes here. Nor any deep truths or clever parallels between this 19th-century ballet and the modern day. It’s a no-stakes romcom that’s all filler (a diversion to a Gypsy encampment, a dream scene) and yet there’s something so winning about it: the sheer sunniness, the fun and energy of the large ensemble (even with some lame buffoonery) and the showcase it offers for dazzling technique, especially in the shape of the opening night’s superlative leads, Marianela Nuñez and Vadim Muntagirov.
This is Carlos Acosta’s revised production from 2013, and it is a huge challenge of stamina across three acts for its prime couple playing the young lovers, Kitri and Basilio (Don Quixote is really a side character). But they don’t put a foot wrong. Nuñez brings light, warmth and effortless command; she hops on pointe with the same ease as walking. Muntagirov is having a lot of fun as his legs fly into splits or he spins through multiple textbook pirouettes. Their technique is stellar, their chemistry very cute.
Acosta’s production ups the Spanish quotient (still within the conventions of ballet) and adds some lovely sets in the second act: a tangle of branches and vines in silhouette against an orange sky, by designer Tim Hatley. He has also brought more life to the bustling village scenes, with dozens of tiny interactions going on in the background. You could question why a 21st-century ballet company continues to programme these old warhorse ballets, but apart from the fact that they’re so popular with audiences, the corps de ballet must love having so much to do. There’s great company spirit on stage.
In the supporting roles, Ryoichi Hirano is a standout as matador Espada, full of style and self-assurance, swishing a pink-lined cape around his shoulders and being caddish with Mercedes – Mayara Magri, impressive as ever. And Sae Maeda deserves a mention for her sprightly solo in the Garden of the Dryads in act two. A pure celebration of the pleasure of classical dance. Ask for nothing more and you’ll go home happy.
• Until 17 November, with varying casts
