An emotional and breathtaking return to the true art of ballet.
The English National Ballet has breathed fresh life into the much beloved Giselle. Mary Skeaping’s choreography indulges in the emotional tale and captivates the audience, leaving few audience members with dry eyes. Having debuted in 1971, this rendition of the well known story seamlessly meshes modern ballet techniques with the traditional pantomime style of Giselle. It is a triumph and a reminder of the effectiveness of simplicity and passion in the creation of art.
David Walker’s set, used in the 1971 debut, draws the audience into Giselle’s world with its elegance and tangibility. The lack of projections or technological add-ons allows the artistic mastery of the set to shine. It is in the second act that the set becomes most realistic with the addition of David Mohr’s recreation of Charles Bristow’s lighting, the painted forest seems to come alive with shadows and movement. As is standard from the ENB, the costumes were exquisite and added wonderfully to the performance. However I do question the inclusion of what seemed to be small, pixie-like wings to the costumes of the ‘Willis’. Disregarding the wings, these costumes embodied the ethereal elegance of romantic era ballet and delivered the unmistakable veil-draped silhouette associated with Giselle. The orchestra’s performance, conducted by Gavin Sutherland, beautifully completed the audience’s immersive experience.
In discussing the cast of this performance, I must lead with the delight that Katja Khaniukova was in the titular role. While also a technically flawless dancer, it is her embodiment of Giselle’s emotional journey that makes her truly great. Khaniukova infused Giselle with innocence, passion, and quiet strength, leaving the audience afraid to miss even a moment of her performance. The rest of the principal cast included Aitor Arrieta as Albrecht, Fabian Reimair as Hilarion, Alyson McWhinney as Myrtha, and Ivana Bueno and Daniel McCormick in the Peasant pas de deux. Arrieta (Albrecht) left something to be desired in his emotional performance during the first act; however following The Mad Scene, he transformed into an almost entirely different dancer, matching Khaniukova in every heart wrenching display. Bueno and McCormick were lovely in the Peasant pas de deux, sometimes seeming more connected than Khaniukova and Arrieta, unfortunately they did struggle with their timings towards the end. McCormick seemed to fall behind at times, notably during jump sequences where he seemed to prioritize height over timing. Reimar (Hilarion) was well-suited to his role, delivering a character rather reminiscent of Beauty and The Beast’s ‘Gaston’ and McWhinney delivered a bewitching performance as Myrtha, Queen of the Willis.
Giselle, while iconic in its whole, is best known by two scenes – the Mad Scene and the Dance of the Willis. ENB’s ensemble-led performance of the Dance of the Willis was mesmerizing and can only be described as flawless. Especially captivating were the two soloists featured during this dance and who perfectly combined athleticism and artistry. The Mad Scene, an emotionally raw display of the destructive powers of love and betrayal, was stunningly delivered in the original pantomime style of Giselle. Khaniukova’s interpretation, though more reserved than other well-known portrayals, and the ensemble’s reactive performance left the audience enthralled by the tragedy unraveling before their eyes.
The English National Ballet’s Giselle is a triumph of artistry and emotion – a true must-see at the London Coliseum this season.
REVIEWER: Alexea Norman