Yuri Possokhov, former principal dancer in the Bolshoi Ballet,
borrows heavily from the famous choreography by Marius Petipa in his own
rendering of the ingenious gentleman’s tale, but makes the title
character the focal point and point of view, relegating the romance
between Kitri and Basilio to the sidelines.
Puppetry and projection aid in representing the world through the mad
knight’s eyes: Wendall Harrington, whose work created the illusion of
sixteenth century Venetian architecture in last year’s “Othello,”
projects Don Quixote’s illusory world on transparent scrims, cloaking
the tangible with the dazzling light of the imaginary. Add
in design elements drawn from Gustave Dore (famous for his line-etched
illustrations of Dante’s “Inferno”) and Cynthia VonOrthal’s life-sized
puppet of Don Quixote’s thin and aged horse and you have a full-fledged
piece of theatrical, classical ballet by a fresh, new voice.
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