A hauntingly beautiful portrayal of love and loss which dips into the realms of the supernatural
As October casts its enchanting spell, the English National Ballet’s performance of Mary Skeaping’s Giselle at the Liverpool Empire Theatre feels like the perfect embodiment of the season. The production artfully intertwines the celebratory feeling of Oktoberfest in act one at the Rhineland wine festival and act two follows with the ethereal dread of the afterlife mimicking the eeriness of Halloween. This sets the stage for a ballet that demonstrates what happens when you give love your all.
From the outset, the production immerses the audience. The opening scenes are vibrant with natural tones in the understated set, designed by David Walker. The set is beautifully complimented by the costume which dresses the cast in a natural toned Germanic style. This helps to unify the cast and assists in creating a moving tableau similar to a Northern Renaissance painting as the curtain draws on Act 1. This allows Giselle, portrayed by Katja Khaniukova, to elegantly to stand out in her innocent baby blue amidst the neutral tones of the rest of the cast. The only costuming I would question would be the choice to dress her two love interests, Albrect and Hilarion played by Aitor Arrieta and Fabion Reimair, so similarily.
At points Khaniukova, with her whimsical bunny hops, draws the viewer into Giselle’s innocence, and demonstrates her pure, yet weak, heart. This is reflected in the playful and game-like dancing throughout in the Rhineland scenes.
One of the most striking aspects of the first act is the debut pairing of Adriana Lizardi and Lorenzo Trossello in the Peasant pas de deux. Their chemistry is undeniable; their duet in captivated the audience with calculated, mirrored movements that convey both tenderness and tension. At the point where we see them dance, their connection seems far stronger than that between the leads.
The orchestral accompaniment, which builds a buzz of anticipation, serves as a harbinger of Giselle’s descent into madness—a pivotal moment that foreshadows the haunting arrival of the Wilis in the second act.
At crucial times during the performance the storyline becomes muddled, a moment of confusion arises as Albrecht’s motivations shift suddenly, and I overhear some audience members pondering the intricacies of his character in the interval.
As the second act unfolds, the production takes on a dreamlike quality, thanks in part to David Mohr’s lighting design. The stage transforms into a mystical realm, shrouded in blue fog and punctuated by sudden pockets of light that create a sense of otherworldly tension. Precious Adams shines as Queen Myrtha, leading her troupe of Wilis with a captivating presence that elicits audible excitement from the audience. The Wilis’ movements are executed with the precision of synchronised swimmers, entrapping the men in a deadly dance. Adams’ portrayal resonates deeply; her drawling movements evoke both grace and menace, enhancing the haunting atmosphere of the act. The ghostly costumes, reminiscent of ethereal l brides, glimmer in the light, and the harp’s delicate notes in the orchestra further envelop the audience in a spellbinding trance.
Where the chemistry between Giselle and Albrecht lacks in act I it deepens in the second act, suggesting a newfound honesty that transcends the barriers of life and death. Their connection feels more profound, evoking sympathy and understanding as they navigate the treacherous terrain of their love.
As the final curtain fell standing ovations and cheers echoed throughout the theatre, a testament to the exceptional talent and the production’s overall brilliance.
The English National Ballet’s Giselle at the Liverpool Empire Theatre is a hauntingly beautiful portrayal of love and loss which dips into the realms of the supernatural. The artistic choices—both in choreography and design—create a mesmerising experience that lingers long after the final bow. This production is not just a retelling of a classic; it is a reawakening of its hauntingly relevant themes.
This production runs until October 26th at The Empire Theatre in Liverpool before moving onto The Palace Theatre in Manchester where you can catch it from October 30th to November the 2nd.