Interview: Royal Ballet dancers Ella Newton Severgnini and Francisco Serrano talk about their debut in Christopher Wheeldon’s Like Water for Chocolate
The return of Christopher Wheeldon‘s Like Water for Chocolate at the Royal Ballet & Opera sees the debuts of two of the Royal Ballet‘s younger dancers in the roles created by Francesca Hayward and Marcelino Sambé in 2023 – Ella Newton Severgnini (First Artist) is Tita and Francisco Serrano (Soloist) will dance Pedro.
‘Like Water for Chocolate’ is a translation of a saying in Spanish, ‘como agua para chocolate’, which means having emotions that are on the verge of boiling over – in Mexico, where the ballet is set, hot chocolate is made with near-boiling water, not milk.
The subtitle of Laura Esquivel’s 1989 book on which the ballet is based is “A Novel in Monthly Instalments with Recipes, Romances and Home Remedies.” The book starts with a recipe for January: 1 can of sardines, ½ chorizo sausage, 1 onion… and in the first chapter, ‘Preparation’, we hear how the author’s great-aunt Tita was highly sensitive to onions, “and would just cry and cry”, even when in the womb, leading to a premature birth on the kitchen table, srrounded by herbs, garlic and onions – “Tita had no need for the usual slap on the bottom, because she was already crying as she emerged.”. A surprising start to a novel.
I asked Severgnini and Serrano if they had read Esquivel’s book.
“I think when taking on a character as rich as Tita, it’s really important to research both the story and character before you even start learning the steps,” says Severgnini. “I have read the novel a couple of times and then found it useful to re-read it again in small sections while watching the corresponding section of the ballet to try to understand where a particular storyline or theme from the novel echoes Christopher Wheeldon’s movement in that moment.”
Serrano went to visual media to flesh out his character. “I watched the film and the new series that has just come out on HBO – it was really enjoyable. It was nice to see the whole backstory. The series clearly told everyone’s story, so it was good to get a glimpse into these characters and the deeper context. I haven’t read the book, but the series gave me an overview of the story in a really accessible way.”
Severgnini added, “I also then spent time researching Tita as a character and tried to create a sort of mood board in my head as to how I see her and therefore how I would like to tell her story. I did a similar thing, but in slightly less detail, with Mama Elena, as I felt her character is deeply influential on Tita. By gaining a deeper understanding of her character, I felt that I was able to elevate my understanding of why Tita acts in certain ways or makes certain decisions through the ballet.”
Mama Elena forbids the marriage between her daughter Tita and Pedro, the neighbour she has fallen in love with. Family tradition dictates that the youngest daughter must remain single so that she can take care of her mother. Mama Elena says Pedro can marry Tita’s older sister, and he does so to remain close to the woman he loves. And now, the supernatural element of the book comes into play – Tita’s tears fall into the cake mix while she’s preparing a wedding cake for her sister and Pedro, and on eating the cake, all the wedding guests fall violently ill. It’s certainly a unique angle for a love story, and certainly for a ballet.
“Tita is an incredibly rich and complex character who sits in this intersection of realism and magical reality,” says Severgnini, “so the biggest challenge will be doing justice to her inner world through movement alone.
“She experiences such a wide range of emotions – deep love, loss, passion, repression, defiance, and ultimately, liberation. Capturing that full emotional arc without words means every gesture, every shift in weight or breath, has to be honest and deeply felt.”
How is that reflected in the choreography?
“From a technical point of view, the choreography is demanding not just because of the physicality, but because it’s so emotionally charged. You’re constantly dancing on the edge of control, which mirrors what Tita is going through internally. That kind of vulnerability on stage takes a lot of courage and is something this role is pushing me to achieve.”
So, how do you balance the elements of her character?
“The challenge with Tita is to keep her grounded as a human even in those moments of magical realism. I want to show truthful, heightened emotions but keep them honest and true, never theatrical. It’s about being fully present in Tita’s skin and letting the story carry me through each emotional state of her journey.”
“The supernatural question is interesting,” adds Serrano, “as Mexico has a deep, rich history of spiritualism and supernatural things. It’s almost like the feelings are so intense that they become a bit magical, which I loved seeing in the series and in the movie.”
Francisco, you have many connections with that culture.
“Yes, both my parents were dancers in Cuba, and they defected to Mexico before going to the US.”
Which is where you were born. Do you feel this gives you an advantage in playing Pedro?
“Performing in Like Water for Chocolate is really rewarding, especially with my Hispanic heritage. It’s nice to be involved in a production which celebrates parts of my identity.”
But Ella, how does a young English girl from Winchester find that Latin passion?
“This story is full of intense passion, and what makes it so beautiful to dance compared to other roles is the emotional commitment required to tell the story.
“I think you have to fully surrender to the emotional truth of the story in order to embody its raw, physical intensity through movement. Obviously in order to achieve excellence, technique is vital and we are so lucky to have such beautiful coaches to guide us through the mechanics of movement, however for this ballet I’ve really had to push beyond technique and immerse myself fully in the emotional physical language of each moment… letting movement speak what words cannot, and finding freedom in the very feelings Tita may have once been taught to conceal – the pain of forbidden love, the heat of desire, the anguish of duty, and the transcendence of spiritual connection.
“Joby Talbot’s playful score works in unison with Chris Wheeldon’s nuanced choreography, which really guides me into a world where emotions can overflow in their rawest, truest form.”
Winchester to London was not such a big leap for Severgnini when she moved to join The Royal Ballet School, but Serrano’s journey was a little more arduous.
“Leaving home [in Sarasota, Florida] to join The Royal Ballet School was hard. I’m very family-oriented, so moving away took a while to get used to. My parents struggled with me joining the school, and it was obviously a bit of a hard time, but it was nice to be with other students. They made me feel very welcome, which was nice.”
Yet having parents involved in ballet must have helped. Serrano’s parents founded The Sarasota Cuban Ballet School in 2011, just as Serrano began training.
“They performed for most of their ballet careers in Sarasota. I was really young, so I went along with them for a lot of it, but I started ballet a little bit later when I was 14 – they never pressured me into anything.”
And now, Francisco, 11 years after that move, you will be tackling your first leading role.
“Yes, it’s amazing! I’ve done a few other things, but this is my first three-act ballet. It’s wonderful to carry a story throughout the whole show, especially one that spans years and years. It’s something I’ve always wanted to do – it’s really interesting to me as you can see the maturity and the growth of a character. It’s something I’ve been looking forward to for a while, and now I’ve had the opportunity!
“It’s been really, really fun, but it also means a lot of responsibility and a lot of work, which is satisfying at the same time. You’re putting your full self into a role that is exhausting, but also rewarding.”
Ella, you’ve already played a major character when last year you were given the title role in Wheeldon’s Alice’s Adventures in Wonderland.
“It was an experience I will treasure for the rest of my career. It was my first major leading role with the company and at the beginning of my second season as an Artist, so as you can imagine, I was not expecting to be given such a huge opportunity so early on and I feel incredibly grateful to Kevin O’Hare and Christopher Wheeldon for trusting me with such a beautiful role.
“What’s so challenging about Alice is that she is on stage for nearly the entire ballet so it’s a huge test of technical endurance, stamina and artistry. I was fortunate to be coached by Jillian Vanstone, who really guided me through step by step and prepared me so well for such a huge debut. I was also lucky enough to be paired with Cesar Corrales who was so patient and generous. He gave me the space to learn and grow both as a person and artist and supported me both on and off stage more than I could have ever asked for. I feel so fortunate to have been paired with him!”
Has playing that role helped you in preparing Tita?
“Looking back, Alice helped me grow in confidence not just in terms of technique, but in trusting my instincts. It is a role which I hold very close to my heart and a role which pushed, challenged and supported my growth at a very early stage in my career.”
And who are you both working with to learn your roles?
“Edward Watson has been our main coach,” says Severgnini.
“I’ve worked with Ed a few times,” added Serrano, “and this time was no different – he was great! He makes it really personal to you. He always finds a way for you to do your best with anything that you have trouble with or are struggling with. I also worked with Jason Fowler, part of Chris Wheeldon’s team, and Daniel Kraus from the Royal Ballet team, both teaching us and really helping us along the way. They’re all such great coaches and rehearsal directors to be working with.”
“Yes, Edward is a very special coach,” says Severgnini. “He understands how to get the best out of me and makes me feel safe in being vulnerable within my work, which is how you get the most honest work out of an artist. His approach is clear and focused. I really value the way he challenges me to reach new depths while supporting my growth technically and artistically.
“I have also been fortunate enough to work closely with Christopher Wheeldon. Working with Chris is an experience which is unparalleled. Chris is extremely particular and knows exactly how he wants a movement to look. His movement language is so beautifully nuanced and intricate, and always works in unison with the music, making it a real dream to dance. Chris is genuinely one of my favourite people to be in the studio with, and I feel so lucky to have had such invaluable time with him on the run-up to my debut. To have Chris trust me and push me in such an honest and supportive way is one of the most special gifts I could ever receive.”
You are both following in the footsteps of two of the Royal Ballet’s most popular and admired dancers – Francesca Hayward and Marcelino Sambé.
“I was at The Royal Ballet School when the ballet was created,” says Severgnini, “and I saw Francesca in the role. She has this ability to tell a story with such honesty and grace, which is incomparable in my opinion. Francesca has always been a dancer I’ve admired ever since I was little, so I’m sure you can imagine how excited I am to be not only working alongside her but dancing a role created for her. It’s just a dream. We have spent a lot of time in the studio together over the last few weeks and she is such a genuine, generous and kind person, who has offered to much help and support to me throughout this process. Being in the studio with her has given me the opportunity to learn and soak up as much of her wisdom as possible, which I will hold close when finding my own interpretation of Tita.”
“It’s also been amazing to work with Marcelino,” says Serrano. “It’s inspiring to be in class with him and see how he works. He’s one of the most versatile dancers we have in the company. To perform a role that he created is an honour, and to do it alongside him in rehearsals was very special. He helped me a lot with finding the character, and it was really special to share this process together.”
With Severgnini out of earshot, I asked, “How is it dancing with Ella?”
“Dancing with Ella has been great – we’ve never danced with each other before and I think neither of us expected to be partnered together, but it’s been wonderful! It’s one of my favourite parts of being a dancer, to go into the studio and figure things out.
“You really have to talk to your partner… about how to get something across to the audience, or how to fix something. The process with her has been super smooth and super fun. She’s a fantastic partner – she holds herself so well and her acting is so good. It’s been fun to try and match her! She’s great and I think we make a great partnership – it’s been so nice.”
And Ella, what do you feel about dancing with Francisco?
“Dancing with Fransico is a joy. He is such a generous, committed partner who brings a lot of sensitivity energy and support into the studio and on stage.
“I have so much trust in him, which really allows me to fully immerse myself in the emotions of Tita and reach a sense of abandonment within the moment. I feel so safe within our partnership and friendship, which makes performing alongside him feel natural. He is a huge support on and off stage and I feel very lucky to have shared this experience with him.”
Of course, I didn’t expect them to reply otherwise, but their feelings are genuine.
After many recipes and plot intrigues, Tita and Pedro finally get together many years later. A happy ending.
“To me, the message of Like Water for Chocolate is about the power of emotions and how deeply love, passion, and longing can shape our lives, for better or worse,” says Severgnini.
“Love prevails,” adds Serrano. “The character that I’m playing, Pedro, perseveres and does whatever he can to make what he wants happen, which is being with Tita. He was desperate to be with the love of his life.”
“It’s also about the struggle for personal freedom,” says Severgnini, “especially in the face of tradition and expectation. Tita’s journey shows how important it is to follow your heart and stay true to yourself even when it comes at a cost. The story blends love, pain, and magic in a way that really highlights how complex and powerful human emotions can be.”
“Some may say it’s a bit dramatic,” says Serrano, “…and it is!”
In an interview, Wheeldon said, “With the state of the world today, I feel very fortunate to be coming in and hopefully transporting the audience somewhere else for a while, with a story of liberation and the final triumph of love.” What are your thoughts?
“I really connect with what Chris said,” says Severgnini. “In a world that often feels heavy or uncertain, it’s a privilege to be part of something that can offer people an escape, even if just for a couple of hours.
“Like Water for Chocolate is full of passion, struggle, and ultimately, hope. That idea of love and liberation triumphing in the end feels especially powerful right now, and being able to share that story through dance is something I don’t take for granted.”
Like Water for Chocolate runs until 24 October.
Ella Newton Severgnini and Francisco Serrano make their debuts as Tita and Pedro on 15 October and will dance again on 23 October.
Graham Spicer, aka ‘Gramilano’, is a writer, director and photographer based in Milan. He was a regular columnist for Opera Now magazine and wrote for the BBC until transferring to Italy. His articles have appeared in various publications from Woman’s Weekly to Gay Times, and he wrote the Danza in Italia column for Dancing Times magazine. Graham was the historical advisor on Codice Carla, the 2023 documentary on Carla Fracci.
Graham also works as a dance photographer, and his photos have appeared in many books, theatre programmes, and magazines, including Dancing Times, Dance Spirit and Ballet2000, as well as all the major Italian newspapers.
He is a member of the Dance Section of The Critics’ Circle.
