Insight: Hannah Martin on Don Quixote

What did you most enjoy dancing in BRB’s first run of Don Quixote in 2022?

I danced lots of very varied roles, often many in the same performance. As it was my apprentice season, it was a wonderful opportunity to explore different personalities within each role:

Seguidilla – a lively Spanish-style dance in the marketplace. It brings a festive energy to the opening scenes. 

The Gamache Dance – the ladies who perform this form a fussy entourage around Gamache, the foppish nobleman who heroine Kitri's father wants her to marry. With their fans and over-the-top behaviour, they highlight Gamache’s vanity and add humour to the bustling village scenes.

Dryads – the Dryads appear in Don Quixote’s dream sequence, ethereal and otherworldly. They create an atmosphere of serenity and idealised beauty.

Gypsies – the Gypsies bring fiery passion and rustic charm to the ballet. Their dancing is full of rhythm, stamping, and bold gestures, often performed with tambourines.

Flamenco – The Flamenco dancers infuse the stage with fiery Spanish pride and intensity. With strong arm movements, stamping feet, and dramatic flair, they capture the essence Spanish culture.

Fandango – The Fandango dance represents the court and its elegance. The choreography is patterned, stately, and celebratory, and showcases the grandeur of Spanish heritage.

I especially enjoyed the acting in Act I, no matter what character I performed. If you come to see the show I do encourage you to observe the behind-the-scenes characters too – I remember giving each of my characters a whole backstory to play out during the market scene, reacting to all the main events with depth and detail. This approach made each performance a little different and is what truly brings this ballet to life.

Looking ahead, I'd love to dance the role of Mercedes – a feisty character full of personality! At the same time, the Queen of the Dryads presents an exciting technical challenge I would love to approach. For me, every role I learn is not only a performance but also an opportunity for personal development. Each new character feels like adding another string to my bow. After all, every role has an important part to play, not only in the ballet, but in each dancer's personal journey. 

Do you have a favourite scene in the ballet?

Act I is a lot of fun, but the Gypsy scene in Act II is certainly one of my favourites to dance. The mix of dynamics and the more contemporary twist in the movement makes it exciting to both perform and watch. I am really looking forward to dancing it again. With Don Quixote, there is so much room to explore, and now that I have much more experience, I am looking forward to seeing how my approach to each character has evolved. 

What do you think makes Carlos Acosta’s version of Don Quixote special compared to other versions of the ballet?

With Carlos’s Cuban heritage, he brings a wonderfully authentic touch to the ballet. His version is full of passion and personality, which really sets it apart. I remember friends who came to watch the show four or five times over the course of our run in 2022, and they said they never got bored! I think that speaks towards the versatility and vitality of this staging. It has that extra special bit of sparkle, from the choreography to the costumes, and you can see that there has been much thought and effort from every department into making this ballet as breathtaking and entertaining as it is.

What do you think audiences love most about Don Quixote?  

In my opinion, it's the sheer versatility and vibrant energy of this ballet that make it so special for both performer and audience member. When the dancers are enjoying themselves and really living each moment, this translates to the audience and really brings it alive for them. One minute you are dazzled by the magnificent Dryad scene, the next you are laughing at Gamache’s pantomime-like humour! There really is something for everyone. 

If you could only pick one thing, what would you tell audiences to look out for?

There are so many highlights to be looking out for in this ballet, but a few of my personal favourites include: Mercedes's passionate entrance, with her jealous rage towards Espada; Kitri’s infamous Act I solo, where she performs a breathtaking run of pirouettes diagonally across the stage to the delight of the Matadors; and, of course, no ballet is complete without the pas de deux in Act III – a show-stopping ending to a spellbinding evening!

But don't forget to keep an eye out on what’s going on in the background if you have the chance – you're bound to catch some fun interactions between the other characters!