At times, Wheeldon strays far from the usual vocabulary of classical ballet: legs and arms contort in sharp angles through grief and rage, feet flex in anguish, backs arch in sexual ecstasy. (This is a ballet definitely not for the under-12s.)
The cast is outstanding, with Laura Morera as the cold and controlling Mama Elena (and we find out why she is like that in a powerfully moving scene), and Anna Rose O’Sullivan as Tita’s sister, overcome with lust thanks to Tita’s food. Stripping down to a sparkly leotard which leaves little to the imagination, she lights up the stage with erotic moves – a far cry from her Odette danced earlier this season.
There is a strong feeling of magic and spirituality throughout the ballet, with ghosts making appearances and influencing the living characters. At one point, I was reminded of Fruma Sarah from the dream sequence in Fiddler on the Roof, when a large spectre looms across the stage.
On opening night, the role of Tita was beautifully danced by Francesca Hayward, with Marcelino Sambe as her beloved Pedro. Their pas de deux were touching but too short; only in the final duet does their passion catch fire (literally). It is an astonishing and extraordinary end to a powerful ballet.
The orchestra was conducted by Mexican Alondra de la Parra who ensured an authentic flavour to Talbot’s score and Crowley’s minimalist designs cleverly managed to evoke the heat and light of Mexico.
Like Water for Chocolate is at the Royal Opera House until 17 June
