John Cranko’s Onegin draws on a Russian verse-novel, but in 1965 Cranko’s first cast was led by the Brazilian Marcia Haydée and the Spanish-American dancer Ray Barra. Yesterday, the Royal Ballet also cast two dancers of South American and Hispanic origin as Onegin and Tatiana: Thiago Soares and Itziar Mendizabal.

From the start, Mendizabal’s sincere and vulnerable Tatiana offers a touching foil to Soares’ dark, proud, and brooding Onegin; it is a clash between her naïveté, and his world-weary sophistication and sense of honour. Preferring to read her novel rather than look at new dresses, Mendizabal’s Tatiana is simply not very interested in the bourgeois society that Onegin scorns. Her mood as she writes to him is romantic and wistful, and when Soares appears in her dream, she seems a little cautious in the high lifts, as if not quite ready fully to abandon herself to passion. On the other hand, when Soares ripped up her letter, her stillness, embodying the mute pain of rejection, made me cry. (more…)

Carlos Acosta’s recent production of Don Quixote for the Royal Ballet is full of energy, sparkle and exhilarating dancing. Even though it is from the classic Marius Petipa tradition, I didn’t know this ballet and wasn’t sure what to expect. How do you ‘balletise’ Cervantes’ 17th Century blockbuster? In some ways it is a bit like Le Corsaire with flamenco and gypsies instead of pirates: the thinnest of plots, but huge fun and an excuse for some great dancing. (more…)