Not all choreographers are good directors, but Christopher Wheeldon is. Even when dealing with a tricky text such as Laura Esquivel’s magical realist novel Like Water for Chocolate, his is a steady hand. His choreography seems in a telepathic relationship with the melody and mystery of Joby Talbot’s score, while Bob Crowley’s designs, inspired by Mexican architect Luis Barragán, give a sense of heat and isolation, and some visually arresting coups de theatre.
In brief, it’s the story of Tita (Francesca Hayward) and Pedro
(Marcelino Sambé), who are deeply in love but forbidden to marry – Tita must care for her demanding mother (a fierce Laura Morera, especially when she returns as a ghost). Pedro marries Tita’s sister, as his best chance to stay close to his true love, but that motive is one example of a detail, an emotional beat, that could be missed by viewers who haven’t read Esquivel’s book or seen the film. This show rewards a little research.
There are other details that Wheeldon nails: a clever motif using ribbons to represent marriage; the death of beloved cook Nacha, her soul visibly escaping her body. Expertly crafted ensemble scenes are full of buoyant energy, action and rhythmic dancing. And the pas de deux are playful, with inventive imagery. Sambé, especially when off on a solo flourish, is bursting with unfulfilled yearning, his body chock-full of feeling and muscular power. And in the supporting cast, Cesar Corrales is on fire as a revolutionary soldier: a small part he’s damn well going to make count.
As the house cook, Tita’s emotions are passed through her food, sending those who consume it into fits of despair or passion. Her sister Gertrudis (Anna Rose O’Sullivan) is overtaken by raging libido in the only scene that’s tonally off, when a chorus of men in Aladdin-esque costumes people a floor show of a woman’s lust, rather than a real dive into sensuality (although O’Sullivan riding off on a giant puppet horse is fun). The climactic pas de deux involves a lot of hefty lifting and carrying versus tenderness and ecstatic connection – Talbot’s choice to bring in a singer at this point, however, is inspired. Despite caveats, the solidity of the production and the imagination of Esquivel’s world keep this ballet an engrossing, propulsive, fulfilling watch.
Like Water for Chocolate is at the Royal Opera House, London, until 17 June.
