Don Quixote represents the impossible dream in a number of ways — in classical ballet, it carries the most demanding of roles for the endless tricks and the merciless stamina demands (especially with big jumps, hopping on pointe, and the wickedly fast speed requirements). Buried in the pyrotechnics, though, is the most lovely of moves. See bold below (excerpts from Don Quixote review and feature, Dance International, forthcoming).

The technical proficiency of the casts made the entire performance very easy to watch each time – the acting made it positively enjoyable. The returning Kitris (Imler and Nakamura had performed the role 11 years ago in an earlier production at PNB) indeed made a big splash. Carrie Imler appeared absolutely vital on stage, smoothly accomplishing the signature Kitri move – a grand jeté with back leg bending to reach the head. Put a tutu on Imler (as in Act III) and she channels 19th century classical ballet with ease…….

Leads Kaori Nakamura and Lucien Postlewaite offered a partnership of impeccable timing and skill. Nakamura performed something rare to see in ballet, the “floating illusion — a grand jeté with the dancer appearing to move in a horizontal direction, due to the timely positioning of her arms. For Nakamura and Postlewaite, their overhead one-arm lifts together looked effortless, Nakamura daringly removed both hands, suspending precariously in mid air on the arm of Postlewaite – Nakamura then waved her fan as if to taunt the astonished audience.

See Finding Balance: Fitness and Training for a Lifetime in Dance, Ch. 3, for more.

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