When people say they got goosebumps, I never thought I’d actually feel them. But when Kitri, performed by Amaya Rodriguez, launched into her entrance variation, I shivered, and my mouth literally dropped. Kansas City Ballet’s Don Quixote at the Kauffman Center for the Performing Arts was pure energy—a show I had to attend not once, but twice.
Sitting seventh row, center stage, I caught every detail: the flick of Kitri’s fan, the sharpness of her footwork, the way her eyes peered over her fan with a slight eyebrow raise and the electric connection between her and Basilio, performed by Andrew Vecseri. From the moment the curtain rose, the stage was alive. Don Quixote appeared first, dusting off old books and suiting up in armor before the action shifted to the bustling Spanish village. Then, Kitri exploded onto the stage, her confidence radiating through every leap and perfectly placed arabesque. Basilio matched her in charm, his effortless technique and infectious smile making their pas de deux crackle with grace and romance—just from the way they breathed in sync and looked at each other with pure adoration. Their Act III duet was a highlight, culminating in Kitri’s iconic 32 fouettés—executed with precision and control as the audience erupted in cheers. These fouettés are no easy task, even for principal ballerinas.
Espada, played by Aidan Duffy, commanded the stage with a solo so powerful it sent chills down my spine, while Whitney Huell as Mercedes was the perfect blend of strength and elegance. Gamache, the ridiculous aristocrat, was pure comic relief. His exaggerated expressions and over-the-top antics had the audience cracking up, especially when his wig was snatched off.
The second act’s Dryads scene provided a dreamy contrast to the first act’s fiery energy. The corps de ballet moved with ethereal grace, their formations clean and seamless, creating a softness that led beautifully into the high-energy tavern scene. The standout moment of this act, however, was the Queen of the Dryads’ Italian fouettés. The control and precision she demonstrated in this demanding series of turns were flawless, each rotation sharp and smooth, making it one of the most breathtaking moments of the show. Watching her turn with such perfect timing and effortless beauty, I was left speechless. I remember learning Italian fouettés in ballet class and thinking they looked simple—but they are one of the most challenging moves in ballet.
As stunning as the dancing was, the setting and costumes elevated the production even further. The vibrant colors of the Spanish village and the sweeping, romantic backdrops pulled the audience deeper into the story, making it feel as if we had been transported straight to Spain. The rich costumes, from Kitri’s flamenco-inspired dress to the intricate designs of the Dryads, brought the world of Don Quixote to life. Every detail, every ruffled skirt, every embroidered vest, spoke volumes about the time period and the energy of the characters. The costumes, combined with the impressive set, made the ballet feel like a living, breathing world, adding layers to the performance that made it unforgettable.
By the time Kitri took the stage for the finale, the audience was on the edge of their seats. When she hit her last fouetté and landed with absolute control, the entire theater roared. As the curtain fell, Rodriguez had tears in her eyes, overwhelmed by the standing ovation and the reality of her soon-to-be retirement. I’ve been to over 20 Kansas City Ballet performances, and I had never seen an audience react like this; people behind me were yelling “Bravo!”
Kansas City Ballet’s Don Quixote wasn’t just a beautifully danced production—it was an experience, one I will never forget. As one of the most technically demanding ballets, Don Quixote requires both skill and theatrical energy, and this cast delivered on every level. The two-and-a-half-hour runtime felt like 10 minutes. Once again, KC Ballet proved their ability to transport and inspire, leaving the audience breathless long after the final bow.
