“a masterclass in ensemble work, staging, dynamics, design, dance and audience engagement
Akram Khan’s Giselle stands as a visceral and inspiring testament to innovation alongside tradition. Giselle is revered a classical sensation as one of the most beloved ballets in history. To tamper with a work that holds such a multi-generational fan base that often demands preservation and reverence for tradition, is a bold risk. Yet Akram Khan decides to not only take the risk but infuse his excellence into a beautiful reimagining of this piece.
Immersion was clearly one of Khan’s primary intentions as both director and choreographer. Sound was employed as a holistic and visceral experience, entering the bodies of the audience and demanding attention before the house lights dimmed. From the opening moments, the audience collectively gasped, instantly drawn into the world of this ballet.
Khan draws upon his expertise as a trained Kathak dancer, an Indian classical dance form rooted in storytelling through rhythm, gesture, and narrative, to transform Giselle into a contemporary masterpiece. By using Kathak as the foundation, the audiences is unprepared for the stark shifts between ballet’s natural fluidity and Kathak’s percussive, commanding tempo. This contrast fuels the narrative of Giselle that Khan follows with the clear divide between economic classes through pacing. Hands and freedom emerge as central motifs throughout the production. Kathak specializes in precise hand gestures that communicate themes of autonomy, restriction, and resistance, particularly in relation to the women and marginalized communities in the story of Giselle.
Tim Yip’s set and costume design elicited audible gasps from the audience. At moments, the stage resembled a couture high-fashion runway, visually reinforcing the disparity between the wealthy elite and the working class. This division was mirrored in both costume and movement quality. Khan’s choreographic language plays constantly with tempo; those of higher social standing are the only characters afforded stillness or groundedness while the working class remains in relentless motion, suggesting that time itself is a luxury reserved for the privileged, one sustained through the exploitation of migrant workers and the working class. Yip’s imposing wall stunned audiences in its movement, fragility, and symbolism, representing both oppression and the possibility of escape.
Even without prior knowledge of Giselle, audiences require no explanation to form an emotional connection with the women who dominate Act II. Traditionally known as the Wilis, these dancers delivered some of the most intricate and disciplined ensemble work I have ever witnessed. Their use of pointe and rhythm created a menacing atmosphere, heightened by the stark design of their hair, which heightened the atmosphere of fear and resilience. The introduction of sticks jolted the audience into complete focus, reinforcing the idea that these ghostly, human-adjacent symbols of womanhood reclaim agency over their lives. Emma Hawes’ portrayal of Myrtha, the leader of the Wilis, was particularly commanding, playing with fury and balance.
Emily Suzuki’s Giselle was an undeniable standout. Her commitment, emotional depth, and technical excellence allowed the story told without words to be viscerally clear through her body. Her relationships with Ken Saruhashi as Hilarion and James Street as Albrecht were clearly defined through Khan’s precise and intentional staging. Both Saruhashi and Street brought remarkable fluidity and intensity to their roles.
Composer Vincenzo Lamagna reimagined Adolphe Adam’s original score, fusing classical themes with electronic influences to striking effect. Supported by Yvonne Gilbert’s sound design, the auditory landscape was as transformative as the choreography itself, leaving the audience utterly captivated.
This production is a masterclass in ensemble work, staging, dynamics, dance, design and audience engagement through rhythm and pacing. As we move further into a globally connected world, it is imperative that art led by voices like Khan’s becomes central to our cultural landscape. This Giselle integrates and honors traditional roots while offering a vital global perspective. Akram Khan has firmly solidified his excellence, and the team behind Giselle has created a work that is both inspiring and essential.