September 28, 2026
By
September 27, 2026
British choreographer Kenneth Tindall’s contemporary narrative ballet Casanova creates a broader view of the infamous figure who lived for nearly three quarters of the 18th century, from his early days as an aspiring priest to his many conquests to the writing of his autobiography.
Last weekend, Texas Ballet Theater staged the visually compelling 2017 work at Winspear Opera House, animated by a cinematic score composed by Kerry Muzzey. The production moves to Bass Performance Hall in Fort Worth next weekend.
Based on Ian Kelly’s biography from a scenario by Kelly and Tindall, the ballet is dominated by its designs. Dark, gold-tinged lighting by Alastair West, re-created by Joseph Walls, merges seamlessly with tall pillars by set and costume designer Christopher Oram, establishing the production’s eerie, noir-ish atmosphere.
In 11 scenes, the story moves from Venice, where the pillars evoke cathedrals and hidden alleyways —supplicants kneeling to pray on wooden benches — to Paris, where the structures shift to represent the reflective glass of the Palace of Versailles and the self-indulgent upper-crust social circles of the late Baroque period. It is here that Casanova’s hedonistic side fully blooms.
