Carlos Acosta’s The Maiden of Venice (News)
Carlos Acosta’s The Maiden of Venice re-imagines a “problematic” classic, the ballet La Bayadère, for his BRB company
The Maiden of Venice, as Carlos Acosta has named his re-imagined La Bayadère, will, he hopes, sidestep the problems raised by the original ballet, while preserving its very many virtues, not least Minkus’s glorious score, which will be arranged by maestro Gavin Sutherland.
La Bayadère is very much a product of the 19th century and its newfound “orientalism’, a fascination with all things Eastern as seen (and often distorted) by Western eyes.
Originally choreographed by Petipa and set in a mythical India, it tells the story of the forbidden love between the heroic warrior Solor and the temple dancer Nikiya, her rivalry with the Rajah’s daughter Gamzatti, and betrayal by a jealous High Brahmin.
It culminates in one of the most transporting white acts in the classical ballet canon, known as “Kingdom of the Shades”, where a grieving opium-addled Solor has a vision of the murdered Nikiya’s spirit multiplied many times.
La Bayadère. Artists of The Royal Ballet. ©ROH, Tristram Kenton 2013
Better known through the 1941 version for the Kirov/Mariinsky company, La Bayadère has long been a prestigious part of major international repertoires; Paris Opera Ballet, for example, is reviving its much-admired Nureyev production in the 2025/26 season.
However, particularly in the Anglo-Saxon world La Bayadère has fallen foul of contemporary sensitivities amid accusations of disrespectful caricatures and cultural appropriation.
And so, last performed in London by the Royal Ballet in 2018, La Bayadère has been quietly abandoned.
Step Forward The Maiden of Venice
All is not lost, though. Fully aware of the controversy, yet determined to keep the best of a classic ballet, the ever-creative Carlos Acosta is re-imagining La Bayadère as The Maiden of Venice for Birmingham Royal Ballet, where he is artistic director.
Acosta’s version transposes the story to late Renaissance Venice, specifically 1576, which marks the end of the great plague; and its inspiration will blend the original plot with the sumptuous physical ambience of Venice, as seen by set and costume designer Anna Fleischle.
The Maiden of Venice design by Anna Fleischle
Lighting designer Lucy Carter, in her first collaboration with Acosta, will try to capture the reflective liquid light of Venice, alongside its more sombre interiors, as well as creating a suitably dreamy atmosphere for the “Kingdom of the Shades”, which Acosta wisely promises not to meddle with.
All the key characters are present and correct, though italianised: Solor, the warrior, becomes Admiral Sandro, just returned from the Battle of Cyprus; Nikiya, or rather Nicola, is a novice, having joined a convent convinced her childhood sweetheart, Sandro, would not return; the ruler is the Doge, his daughter is called Gabriela.
Bishop Olivolo takes the place of the High Brahmin, but is no less dastardly.
The Venitian setting offers Acosta the opportunity to harness city’s famous carnival, using its carefree, almost anarchic festivities to develop what he calls “fresher, modern ways to tell the story, to make it more dynamic, more now.”
Exotic, elaborate masks will be donned, circus tricks will challenge the dancers, and there will be a variety of solo roles to engage the whole company and, Acosta hopes, raise its level.
Carlos Acosta’s talent as a choreographer was first put to the test in his exuberant 2013 production of the crowd-pleaser Don Quixote for The Royal Ballet. With that hugely enjoyable precedent in mind, I’m very much looking forward to The Maiden of Venice, which will premiere in September 2026.
© Teresa Guerreiro
(Banner Image credit: Frieda Kaden. Photo: Johan Persson)
The Maiden of Venice will run at Birmingham Hippodrome 26 Sept – 3 Oct 2026. A tour will follow. Full information as it becomes available on BRB’s homepage