Nikolaj Hübbe:
”Don Quixote”
With additional choreography by Mikhail Baryshnikov
Royal Danish Ballet
April 30
The Old Stage, Royal Theatre
There can be little doubt that the main reason for bringing back the 1983 production of “Don Quixote” was to use it as a vehicle for RDB and ATB star Alban Lendorf. Unfortunately, he has been out for most of the season with an injury. Although Jon Axel Fransson proved a strong contender on his own merits, the ballet remains the vulgar cousin among the Russian classics. Nikolaj Hübbe brings in support in the form of a Baryshnikov solo; however, neither the ballet nor his treatment of it can make “Don Quixote” better or more interesting than the core version.
Saving a Vintage Production
Back in 1983 there was a buzz of expectation when the RDB premiered their first “Don Quixote”. Yuri Grigorowich and a team from Bolshoi staged it and hopes were high that the Danish ballet and its team of characters dancers could somehow make the fusion between the title role and the bravura driven ballet work. All sails were set with a casting that included Henning Kronstam as Don Quixote and Fredbjørn Bjørnsson as Sancho Panza and the brilliance of company stars Arne Villumsen, Annemarie Dybdal, Linda Hindberg and Heidi Ryom. The result was impeccable dancing, but although very well performed, still really no room for the Don. The fusion did not happen.
Jens-Jacob Worsaae made a stunning design for the production, even under the condition that the design should also function in the Tivoli Concert Hall that was to be the home of RDB for two seasons, while the Royal Theatre was renovated. His design was later dragged and changed twice to fit two more productions, the Nureyev and Alonso versions over the decades.
Nikolaj Hübbe has stated that one of his goals for this production was to bring back the glory of the Worsaae design, and that is almost complete. I would have liked to get Basil back is the original creamy tights in the first acts, but otherwise it is back to the original look.
Not following the Recipe
Although he had not really shared the rest of his game plan, I had somehow expected that he would follow the same recipe, he used for his productions of “Swan Lake” and “La Bayadére” by investing in and tailoring the divertissements to the RDB strengths. That did not happen. Nor does he seem interested in developing the mime roles and place them more central.
Mogens Boesen and Poul-Erik Hessellkilde is the only cast for the Don and Servant. One of the few blessings from Nikolaj Hübbe’s last production of “La Sylphide” was the interpretations of Madge, of foremost Sebastian Kloborg and Sebastian Haynes. Seeing what Sebastian Kloborg could do with the role Gamache, which frankly was the best and funniest interpretation of the role, I have ever seen, one could not help wonder what he could have brought to the title role. As Sebastian Kloborg has decided the concentrate on choreographing, I can only say that he needs to make some outstanding ballets to compensate the audience for the loss of him on stage.
What Hübbe had done, compared to the 1983 version is to wheat out some of the smaller divertissements (no more beggars, thank God), remove smaller role like the gypsy king and the sprektstallmeister for the toreadors and send the children, which was a significant part of the older version, to bed early. So no more marionettes and no more adolescent Cupid.
By using a grown up, although small, dancer for Cupid, the Dryad Act does not really make sense for the audience. They may recognize Kitri in a new costume, but who are the other two featured girls and what is this all about?
If the production had more focus on its title role, maybe the act had made more sense. Although both Silvia Selvini as Cupid and Holly Jean Dorger as the Dryad Queen does their parts very well, they remain strangers for the audience.
The Diva Challenge
This is the third pairing of J’aime Crandall and Jon Axel Fransson this season. So far, they have been the best pairing in both “The Nutcracker” and “Theme and Variations.” Fransson is an outstanding partner who really understands how to present his partner to the greatest advantages and J’aime Crandall blossoms on stage in the partnership.
This time around, he is obviously more comfortable in the role than she is. Fransson can add charm and comic timing to his Basil, whereas Crandall is struggling to find the sassiness, needed for Kitri as well as covering as much ground as Kitri needs to fill in the first act. She seems to over focus on getting the leg up as high as possible and thereby creating a too narrow shape of many of the signature posings. In Act III, she is back in her comfort zone and high performance quality.
Probably with the design of making a strong second pairing, Nikolaj Hübbe has created a package where the same two dancers handles the Toreador Espada, the street dancer, Mercedes and the bolero. Thereby making two roles for principal dancers, Ulrik Birkkjær and Amy Watson. The both deliver strong dancing and stage presence in a combo that not cater for their full skillsets.
Over the years there has been many attempts to make “Don Quixote” into a more coherent and interesting ballet. It has not been achieved yet. With this production it looks like Nikolaj Hübbe, perhaps wisely enough have not invested in another attempt destined to fail. What he has done is making Basil a stronger role by adding the Baryshnikov solo and tidying up here and there.
In the future RDB will have to reuse more of the productions in storage. Luckily, there are many gems in the coffers.
After the performance, Nikolaj Hübbe and Annie Detlef presented the "Annie & Otto Johs. Detlefs' Exchange Prize" to Benita Bünger. The prize will give the young dancer an exchange to the Norwegian Ballet, where she will participate in an All Balanchine production.
Jean-Lucien Massot received the”Director Prize” and Elisabeth Dam was honored with the price for best colleague.
Photos by Costin Radu (Copyright (c): Royal Danish Ballet)
- J'aime Crandall and Jon Axel Fransson as Kitri and Basil
- J'aime Crandall and Jon Axel Fransson as Kitri and Basil
- J'aime Crandall as Kitri
- Amy Watson & Ulrik Birkkjær as Mercedes and Espada in the bolero
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