Boston Ballet's Don Quixote is sugary in style, substantive in technicality

This year's season of the Boston Ballet, which marks its 40th anniversary, opened this past Thursday with the staging of the classic story tale Don Quixote. As the rest of the city suffered from Red Sox heartbreak, those of us at the Wang Theater were assured a happy ending. (Perhaps Pedro should work on his pli?©s.) We can all be thankful that with the distraction of the baseball sport gone, attention can be properly turned to Boston Ballet's new season -- with ballet as a sport in its own right.

Eschewing the traditional choreography by Marius Petipa from the mid 19th century, the company chose to revive the 1966 choreography by dance legend Rudolph Nureyev, a version first staged by the Boston Ballet in 1982. The choice was especially poignant since Thursday evening marked the 10th anniversary of Nureyev's death, a loss still felt within the world of dance.

The story itself is loosely based on the classic Cervantes novel of the same name. Don Quixote, an old knight in Barcelona, dreams of his Lady Dulcinea whom he believes to be in trouble. His fantasies take him and his faithful servant, Sancho Panza, to the port where the protagonists Kitri and Basilio seek a marriage blessing from Lorenzo, her father, who wishes to force Kitri to marry the wealthy and arrogant Gamache.

The pair runs away and the tale follows the Don and Panza, as well as Lorenzo and Gamache, as the four chase the lovers across the countryside. After much foolishness and a brush with a Gypsy band, the couple trick Lorenzo into giving them his blessing, and finish the ballet with the entire corps out on stage in celebration.

The dancing was markedly Boston Ballet, crisp and technically proficient but at times lacking the necessary flair or sensuality to draw the viewer into the story. Lorna Feijoo, dancing Kitri, did an admirable job at a very difficult role filled with show-stopping turn combinations, including a third act dance with the trademark fouettes (remaining on one leg, she does 32 consecutive turns by whipping her free leg around her body, every third turn a double rotation). Her partnering began somewhat rigidly but developed more softness by the third act.

A piercing, solo violin provided the backdrop for a delicate pas de deux with Basilio (Yury Yanowski-Principle), with pirouettes and arabesques which were acutely accented but tender. Yanowski brings to the stage energy and exuberance that light up his character, despite the occasional unsure landings. His partner dancing was strong and assured, highlighted by a no-hands fish dive (Kitri ending a jump wrapped around Basilio's waist, his hands triumphantly extended) at the end of the first act and a series of one hand lifts in the second.

The performance included more men than one is accustomed to in American ballet, which is exciting. During the opening port scene, a line of eight men was formed, arms interlaced, to hurl the poor servant, played by Parren Ballard, over 15 feet into the air. Also of note was Barbora Kohoutkova as Queen of the Dryads, who in the second act danced a supple, yet sharp, solo during the dream scene. Her subtle musicality and engagement with the audience spoke to the longing of Don's imagination. The Ballet is at times sugary, but fun and witty all the same. Discounted tickets may be obtained though student rush, as Boston Ballet rarely sells out. The show runs from Oct. 30 through Nov. 2, with "Stars and Stripes" running Oct. 23 through 26.