This is an article I wrote for The Pitch, Kansas City’s renowned alternative publication. You can read the full article here.
Upon arriving at the Kauffman Center of Performing Arts, I realized that I’ve never been to such a sophisticated affair. Standing amongst local Kansas Citians in their best dress, conversing before entering the Muriel Kauffman Theatre, I didn’t know what to expect from the opening night of a ballet adaptation of the iconic Don Quixote.
As I was ushered to my seat and the lights dimmed in the packed theater, I felt suddenly transported to the early modern period. I reached into my purse for my glasses, and felt like a Spanish aristocrat wielding her opera glasses. The ballet began, and not to my surprise my expectations were already exceeded. Immensely.
Kansas City Ballet’s rendition of Don Quixote is captivating, with a stacked cast and elaborate set designs and costuming. Choreographed by Emmy award winner Anna-Marie Holmes, its a modern, fresh take on a classic.
It felt more like a celebration of the novel and the telling of a story rather than a strictly technical and methodical ballet performance. At some points, the production made me feel like I was in a theater watching a high budget silent film, as the dancers were often acting alongside dancing.
As Quixote slips more into his delusions, he finds himself in increasingly strange situations. // Photography by Brett Pruitt & East Market Studios.
Don Quixote follows the story of self-proclaimed knight Don Quixote, who read one too many chivalry romance novels and slips into insanity alongside his appointed squire as they go on adventures and bring his chivalrous fantasies to life. It also follows Basilio, a poor village barber and Kitri, daughter of a local town entrepreneur on their quest for love, as wealthy aristocrat Gamache follows Kitri, hoping to win her over.
The performance had a hyper-realistic set design, with a moving windmill and a seemingly fully functional town square. Although it was a ballet, ensemble members were placed around each set to bring the story to life, reminiscent of something you’d see on Broadway. As dancers performed pirouettes and Italian fouettes, staged dancers served as onlookers before eventually making their way to center stage.
Amaya Rodriguez’s performance as Kitri was especially impressive, with the crowd erupting in applause every time she graced the stage. Parrish Maynard’s performance as Quixote had the audience echoing in laughter throughout the duration, but they were equally captivated by his talents as a ballet dancer and actor.
Among the chatter during intermission, I overheard someone in the audience say “This is probably the best costuming I’ve ever seen in a ballet.” Do I have the ballet expertise to agree with this sentiment? No. However, I don’t need to blindly trust their judgment, as the costuming was one of the first things that caught my attention, and kept it. The stage was bleeding with color and vibrancy—so a tip of the hat to costume director Jennifer Carroll.
The second part of act two was a captivating change of pace, with moodier costuming and themes. // Photography by Brett Pruitt & East Market Studios.
Don Quixote can be seen at The Kauffman Center for Performing Arts through March 30. Ticketing and more information can be found here.