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The Royal Ballet

  • Kevin O'Hare CBE

    Director

  • Dame Ninette de Valois OM CH DBE

    Founder

  • Sir Frederick Ashton OM CH CBE

    Founder Choreographer

  • Constant Lambert

    Founder Music Director

  • Dame Margot Fonteyn DBE

    Prima Ballerina Assoluta

Like Water for Chocolate

BALLET IN THREE ACTS

Thursday 16 October 2025 7.30pm

The 17th performance by The Royal Ballet at the Royal Opera House.

Please note that casting is subject to change up until the start of the performance. Please continue to check the website for the most up-to-date information.

Approximate Timings

The performance lasts approximately 2 hours and 45 minutes, including two intervals.

  • Act I

    55 minutes

  • Interval

    25 minutes

  • Act II

    35 minutes

  • Interval

    25 minutes

  • Act III

    25 minutes


A co-production between The Royal Ballet and American Ballet Theatre

Credits

  • Choreography

    Christopher Wheeldon

  • SCENARIO

    Christopher Wheeldon

    Joby Talbot

  • Inspired by the book by

    Laura Esquivel

  • Music

    Joby Talbot

    © 2022 Chester Music Ltd

  • Orchestrations

    Ben Foskett

  • Designer

    Bob Crowley

  • Lighting Designer

    Natasha Katz

  • Video Designer

    Luke Halls

  • Associate Set Designer

    Jaimie Todd

  • Associate Costume Designer

    Lynette Mauro

  • Associate Lighting Designer

    Simon Bennison

  • Staging

    Jason Fowler

  • Rehearsal Director

    Christopher Saunders

  • Principal Coaching

    Jacquelin Barrett

    Edward Watson

    Zenaida Yanowsky

  • Senior Répétiteur

    Deidre Chapman

    Samira Saidi

  • Répétiteur

    Zhan Atymtayev

  • Senior Benesh Choreologist and Assistant Repetiteur

    Gregory Mislin

  • Benesh Choreologists

    Daniel Kraus

Cast

  • Tita

    Mayara Magri

  • Mama Elena

    Melissa Hamilton

  • Rosaura

    Claire Calvert

  • Gertrudis

    Meaghan Grace Hinkis

  • Pedro

    Leo Dixon

    replaces Cesar Corrales

  • Dr John Brown

    William Bracewell

  • Nacha

    Olivia Cowley

  • Juan Alejandrez

    Luca Acri

  • Don Pasquale

    Thomas Whitehead

  • Chencha

    Charlotte Tonkinson

  • Nacha's former lover

    Denilson Almeida

  • José

    Martin Diaz

  • Elena's Mother

    Lara Turk

  • Elena's Father

    Aiden O'Brien

  • Elena's Brothers

    Denilson Almeida

    Harrison Lee

  • Juan De la Garza

    Joonhyuk Jun

  • ESPERANZA

    Ariella Assulin

    Aurora Chinchilla

  • ALEX

    Milan Yep

    Joe Parkinson

  • Priest

    Denilson Almeida

  • Ranch Workers

    Madison Bailey

    Harris Bell

    Olivia Findlay

    Joshua Junker

    Harrison Lee

    Ella Newton Severgnini

    Aiden O'Brien

    Marianna Tsembenhoi

  • Brides, revolutionary soldiers and wedding guests

    Artists of The Royal Ballet

Students of The Royal Ballet School appear by kind permission of the Artistic Director Iain Mackay

Music

  • Conductor

    Jonathan Lo

  • Orchestra

    Orchestra of the Royal Opera House

  • Principal Guest Concert Master

    Vasko Vassilev

    by arrangement with TRITTICO

  • Guest Singer

    Siân Griffiths

The Royal Ballet

  • Director

    Kevin O’Hare CBE

  • Music Director

    Koen Kessels

  • Resident Choreographer

    Sir Wayne McGregor CBE

  • Artistic Associate

    Christopher Wheeldon OBE

  • Administrative Director

    Heather Baxter

  • Rehearsal Director

    Christopher Saunders

  • Clinical Director Ballet Healthcare

    Shane Kelly

Synopsis and character list

Pedro: ‘I swear I will love you forever.’

Mama Elena: ‘You know perfectly well that being the youngest daughter means you have to take care of me until the day I die.’ACT I

Scene 1 The De la Garza Ranch

Growing up, Tita is transported by the delicious scents from the kitchen and the delight in food she shares with her beloved Nacha, the family cook. Tita’s free-spirited games with Pedro, the son of a neighbouring ranchero, are quashed by her mother, the formidable widow Elena De la Garza. The childhood friendship develops into flirtatious courtship and a declaration of love. But a family tradition, unquestioned for generations, prevents their union. As the youngest daughter, Tita must remain unmarried to care for her mother in her old age. To Tita’s dismay, the hand of her sister Rosaura is offered to Pedro in marriage instead by Mama Elena. Tita is inconsolable as she prepares the wedding cake with Nacha, and her tears inundate the batter. Alone, Nacha tastes the cake mixture and is overcome with intense longing and grief, engulfed by memories of her long-dead fiancé. She curls up on the table and breathes her last.

Scene 2 Rosaura and Pedro’s wedding

Pedro believes his marriage will enable him to stay close to Tita, his one true love. Seeing her sadness, he gives Tita a rose from the wedding bouquet, reassuring her of his unwavering love. As the guests consume the wedding cake, they too are overwhelmed with sorrow and memories of lost loves. Their sadness manifests as violent indigestion. Nacha’s body is carried in. Devastated, Tita believes that she is the cause of all the chaos.

Scene 3 Baby Roberto

A year has passed and Rosaura is exasperated by her attempts to feed her newborn baby. Mama Elena consults the family doctor, John Brown. His efforts to help are in vain and the shrill crying of the baby shreds everyone’s nerves. Distraught, Rosaura leaves the baby with Tita in the kitchen. Something magical takes place and Tita is filled with wonder at the miracle of being able to nurse the baby. Witnessing this, Pedro’s love for her deepens. Mama Elena becomes suspicious of them.

Scene 4 Quail in Rose Petal Sauce

Tita serves the evening meal: quail made with petals from the rose given to her by Pedro at the wedding. While Mama Elena and Rosaura recoil in disgust at the food, Tita’s other sister, Gertrudis, and Pedro take sensual delight in the dish. The food has an erotic effect upon Gertrudis; Tita’s physical desire for Pedro has manifested as an aphrodisiac in her cooking. Summoned by the aroma of rose petals, revolutionary soldier Juan Alejandrez appears and carries a frenzied Gertrudis away on horseback. Mama Elena is consumed with rage.

Scene 5 A Hot, Sleepless Night

Tita and Pedro meet among the sheets of hanging laundry. Their rendezvous is cut short by Mama Elena and a suspicious Rosaura, who are awake and prowling. Elena orders Pedro to leave the ranch and to take Rosaura and Roberto with him.

Scene 6 Tita’s Breakdown

Tita despairs as the two people she loves most – Pedro and Roberto – have gone. The maid, Chencha, brings devastating news that the baby has died. Tita confronts Mama Elena , blaming her for baby Roberto’s death. Elena beats Tita to the ground, causing her a complete emotional collapse. Dr John is summoned to take Tita away to convalesce in Texas.ACT II

Scene 1 Dr John’s House

Away from her mother’s tyrannical grasp, Tita has been nursed back to health by Dr John. His son by his first wife plays happily in the garden. Dr John loves Tita deeply and proposes marriage. Although not in love, Tita feels a sense of peace and security and accepts. News arrives from Mexico that Mama Elena has died.

Scene 2 Mama Elena’s Wake

Mama Elena’s body is laid out on the table. Rosaura and Pedro are among the mourners, with their new daughter, Esperanza. Tita explores a carved wooden box found hidden in Mama Elena’s bedroom, containing mementos of the old matriarch’s deepest secrets, including a diary. A vision of Mama Elena rises from the table, a younger version of herself. Elena is revealed to have been secretly in love with a man named José. She was forced instead by her parents into a marriage with Juan De la Garza, Tita’s father. The lovers attempted to escape together but José was killed by Elena’s brothers. Aware now of the root of her mother’s unhappiness, Tita forgives her mother. Pedro jealously watches Tita with Dr John while Rosaura keeps a possessive hold on her husband.

Scene 3 The Engagement Dinner

Dr John announces that he and Tita are engaged. Pedro catches Tita alone and once again declares his love. She is unable to resist and the two are swept up in a passionate tryst which summons a ghastly spectre: the ghost of Mama Elena. At once, soldiers arrive in the courtyard and Gertrudis, now a famous revolutionary commander, rides in with Juan Alejandrez whom she has now married. The sisters delight in their reunion.

Scene 4 Campfires

A fiesta is underway celebrating the return of Gertrudis. Tita is wracked with guilt and shudders under the accusing stare of her mother’s ghost. She tells Dr John the truth: that she has always loved Pedro. She returns the engagement ring, feeling unworthy of the kind doctor’s love. Sorrowful but aware of her feelings for Pedro all along, Dr John forgives Tita and leaves. Released, Tita is pulled into the joyous throng. Forgetting her troubles, she dances with Pedro but is once again confronted by the hideous vision of her mother. Tita produces the diary, and the evidence of Mama Elena’s hypocrisy breaks her cruel hold over her daughter. But Tita’s victorious elation is short-lived: in a final act of vengeance, the ghost of Mama Elena reveals  itself to Pedro, causing his heart to fail.ACT III

Scene 1 Three Rooms

Pedro’s health is improving, but Rosaura’s body is rapidly failing, her jealousy feeding her sickness. John and Tita work together to minister to the patients, their old camaraderie rekindled. John’s son Alex frolics with Esperanza until Rosaura commands her daughter to her side, echoing Mama Elena’s controlling behaviour. Rosaura pulls Esperanza into a suffocating embrace and slumps lifeless onto the pillow. Pedro mourns his dead wife while Tita cries on John’s shoulder.

Scene 2 The Ranch

20 years later, another wedding is set up in the courtyard of the ranch. Pedro’s daughter, Esperanza, and John’s son, Alex, are married. The families are united in love, the tradition broken. As the celebrations recede, Tita and Pedro are left alone. Their long suffering is over and they are at last free to be together. In a final act of passion, their bodies ignite as they transcend the mortal realm.

Inspired by the book by Laura EsquivelCharacter list

Tita – The youngest daughter of the De la Garza household, in love with Pedro but forbidden by family tradition to marry. She has a special gift for cooking.

Pedro – The son of a neighbouring ranchero, in love with Tita. He marries her sister Rosaura in the hope of remaining close to Tita.

Mama Elena – The overbearing matriarch of the De la Garza household. She hides a secret.

Dr John Brown – The family doctor from America. He loves Tita but her passionate feelings are reserved for Pedro.

Nacha – The wise old cook of the De la Garza household and Tita’s closest confidant. The two bond over their shared love of food and cooking.

Rosaura – Tita’s sister. She marries Pedro but remains jealous of his close relationship with Tita.

Gertrudis – Tita’s other sister. She elopes with a revolutionary soldier, and later becomes a famous revolutionary commander.

Juan Alejandrez – A revolutionary soldier who marries Gertrudis.

Roberta – Pedro and Rosaura’s first child.

Esperanza – Pedro and Rosaura’s second child.

Alex – The son of Dr John by his first wife.Don Pasqual – Pedro’s father and a neighbouring ranchero.

Chencha – The family maid.

Guidance

Suitable for ages 12+

This performance contains sexual themes. There are depictions of violence in Act II.

Generous support from

Further information

Digital Cast Sheets

We are working hard on our commitment towards becoming more sustainable and are striving for our net zero goal of 2035. By using digital cast sheets and e-tickets, we have reduced our paper consumption by over five tonnes per year. You can view our digital cast sheets on a computer, tablet or smartphone by scanning the QR codes displayed around the building using your smartphone’s camera app. They are also displayed on screens outside the auditoria. Cast sheets are generously supported by the Royal Opera House Endowment Fund.

Guidelines

Photography and filming are prohibited during performances in any of our auditoriums. You are welcome to take pictures throughout the rest of the  building and before performances and share them with us through social media. Commercial photography and filming must be agreed in advance with our press team.

Larger bags and backpacks need to be check into our complimentary cloakrooms. Unattended bags may be removed.

Please do not place any personal belongings on the ledges in front of you. Mobile phones should be turned off and stored away safely during performances.

Only bottled water and ice cream purchased from the premises can be taken into the auditorium.

If you arrive late to the auditorium or leave during a performance, you will not be allowed back to your seat until the interval or a suitable break.

Smoking and vaping are not permitted anywhere on the premises.

The safety of our visitors, staff and artists is our priority. To help us provide a comfortable experience for everyone, please be mindful of others and their personal space.

Our staff are committed to treating everyone with dignity and respect and we ask that you show them and your fellow audience members respect too. We adopt a zero-tolerance approach in response to anyone who interacts with our staff or with fellow audience members in an intimidating, aggressive or threatening manner.

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