Tag: ballet

In Conversation With Peter Tuleshkov

Published on by Tabitha JamesLeave a comment

We sat down with Peter Tuleshkov, Artistic, Musical Director and Chief Conductor of Varna International Ballet which comes to the UK in the new year, visiting 20 venues from 2 January – 5 March 2025, with beloved classics Swan Lake, The Nutcracker and Romeo and Juliet. 

How long have you been with Varna International Ballet and Orchestra?

I’ve been with the Company for five years, and every year has been filled with new ideas and achievements. I constantly try to move forward to keep up with the creativity and new ballet productions. 

What was your career path to becoming Music Director and Chief Conductor for Varna International Ballet and Orchestra?

When I was young my parents assigned me to the music school, they assumed that I had a good musical ear. In school I realised how important it was to study classical music and big music scores, which form a very special musical thinking.

When I was sixteen, I knew for sure that I wanted to work at the opera and ballet theatre. But at the beginning I did not realise how difficult it would be to work in such a way as to listen not only to each musician in the orchestra, but also to follow each dancer on stage. I have always loved ballet music, but conducting a ballet performance is a big challenge. Not the slightest mistake is allowed here.

Ballet has produced some of the most beautiful music ever written. Which is your favourite ballet, and why?

I love the music of Tchaikovsky and Stravinsky, but my favourite ballet is the one to which I give my heart and soul at the moment of the performance. I must go out and enter the orchestra pit and face the audience, and that performance is my favourite that evening. Only this way I will be able to transmit my feelings to the audience.

Why do you think Tchaikovsky’s ballets are so admired?

It is easy to answer this question. Tchaikovsky’s music is very light and life-affirming, even if there are tragic moments in the ballet. In addition, Tchaikovsky is a fantastic melodist, he gives us a huge number of melodies that instantly sink into the soul. 

As we approach the 150th anniversary of Swan Lake, what do you think has made it such an enduring success?

Indeed, soon we all will celebrate 150 years since the premiere of Swan Lake! The history demonstrates how unexpected ballet success can be. The first production of this ballet, despite the amazing music, was average. Years later, thanks to other choreographers and to mark the 10th anniversary Swan Lake had a remarkable success. The ballet sparkled with new colours, and now every choreographer in the world dreams of adding this ballet to his repertoire.

What do you enjoy most about touring with Varna International Ballet and Orchestra? What are you looking forward to most about being on tour in the UK?

My stimulus is the Company’s incredible creativity and motivation. Young talented multinational dancers always give their best at every performance. The opportunity to participate in artistically amazing performances is the best gift to any creative person. The UK tour is one of the most important tours. I will do my best to help dancers on stage to radiate their best qualities to the audience.

Varna International Ballet Romeo & Juliet at New Wimbledon Theatre, London, Great Britain 6th February 2024 Photo call UK tour runs until 29th February 2024 British dancer Luc Burns performs alongside Italy’s Mara Salvaggio, Martina Prefetto, Giovanni Pompei, Agnese Di Dio Masa, Andrea Conforti, Mirko Andreutti, Giacomo Ammazzini and Vittorio Scolé, France’s Pauline Clémence Faget, Spain’s Mónica Alegre and Yael Delgado, and Brazil’s Wellson Felipio. Photograph by Elliott Franks

In Conversation With Martina Perfetto

Published on by Tabitha JamesLeave a comment

We sat down with Martina Perfetto, performer at Varna International Ballet which comes to the UK in the new year, visiting 20 venues from 2 January – 5 March 2025, with beloved classics Swan Lake, The Nutcracker and Romeo and Juliet.  Martina will perform Odette/Odile in Swan Lake, Marie (Clara) in The Nutcracker and Juliet in Romeo and Juliet

Where did you train as a dancer?

I started my ballet classes at the age of five and when at thirteen years old I was admitted to the well-known Italian Academy Teatro di San Carlo I had no doubt of the career I wanted to follow. The profession is physically and emotionally demanding but the joy and happiness of performing on stage is a great reward of your efforts.

Have you visited the UK before? What do you enjoy most about touring here?

I have toured with the Varna Ballet in the UK in the last two seasons. The ballet tour across the United Kingdom is a test for my professionalism. This may sound pompous, but I feel responsibility as an Italian dancer and a dancer representing Varna, the city of the first ever international ballet competition. When I come on stage, I feel the audience’s compassionate mood, which helps interpreting the role. The best performance is when the dancers and the audience breathe in unison.

How do you keep fit and healthy on tour?

Ballet dancers are used to limitations. As all Italians, I like pasta. After all those limitations in food, after a successful performance I indulge and have something I wouldn’t allow myself in days. Each dancer has her own revitalising elixir which gives you strength and suppresses appetite. Alongside fruits, my diet on tour is oat flakes which combine with everything and avoid monotony.

How do you relax when you’re not working?

I love bakeries. Even when I can’t have it before the show, I eat it with my eyes from the bakery’s window. You can imagine how much temptation I have got in Britain! Also, my favourite Italian tunes and melodies is a magic remedy. I choose music for my state of mind at the time, and it is a great relaxation.

Apart from ballet, what is your favourite dance style?

I love and learn Latin American dance, where, like ballet, you can splash out your emotions. The union of the dancing couple is always very sensual.

Varna International Ballet at New Wimbledon Theatre, London, Great Britain 6th February 2024 Photo call UK tour runs until 29th February 2024 British dancer Luc Burns performs alongside Italy’s Mara Salvaggio, Martina Prefetto, Giovanni Pompei, Agnese Di Dio Masa, Andrea Conforti, Mirko Andreutti, Giacomo Ammazzini and Vittorio Scolé, France’s Pauline Clémence Faget, Spain’s Mónica Alegre and Yael Delgado, and Brazil’s Wellson Felipio. Photograph by Elliott Franks

In Conversation with Daniela Dimova

Published on by Tabitha JamesLeave a comment

We sat down with Daniela Dimova, Artistic Director of Varna International Ballet which comes to the UK in the new year, visiting 20 venues from 2 January – 5 March 2025, with beloved classics Swan Lake, The Nutcracker and Romeo and Juliet. 

How did you first get into ballet? 

Ballet is a universe where roles constantly change. I would prefer not to highlight
certain periods, but to pay attention to something else – how we can preserve the art
of ballet. The responsibility lies not only with choreographers and dancers, but in
audiences as well. Without an audience, a ballet performance cannot take place. It is
the audience who appreciates a fantastic live performance, and it is the audience
with their applause that feeds the artists with positive energy, which gives strength
for new achievements. 

How many shows does the company perform each year?

Varna International Ballet is a troupe that is young, energetic and have lots of
performing experience, with a long history. Sixty years ago, the world’s first
international ballet competition was held in Varna, which immediately made this city
one of the ballet capitals of the world. 

The National Opera and Ballet Theatre in Varna has been trying to keep the ballet
bar high all these decades.  Thanks to Bulgaria now being a country within the
European Union, it is now possible to invite talented dancers from all over the world
more actively, and now nowadays the Company includes dancers from ten countries.
Today Varna International Ballet is one of the most active and creative European
companies, which has already had seven ballet premieres in the last year.

Which of the three shows you are presenting is your favourite, and why? 

All three productions the Company is bringing to the UK are audience favourites and
all three of them have a special place in my heart. The first original 1877 production
of Swan Lake perhaps would be the most interesting for the audience with the
sequence of music as Pyotr Tchaikovsky composed it and as Julius Reisinger
choreographed the ballet. The core for all other Swan Lake interpretations is the
1895 Petipa-Ivanov production and Ricardo Drigo’s music arrangement.
Prokofiev’s Romeo & Juliet has got a powerful music score and original
choreography.

We use images projected on the backdrop to accompany each scene. The audience
is not distracted with hard sets onstage and changeovers, but follows the ballet line
and smoothly projected images appropriate for each scene.

Which dance performances have you seen that have inspired you the most,
apart from Varna International Ballet?

We follow activity and new productions of ballet companies worldwide with great
interest, including the UK. Keeping up with ballet tendencies we must know
achievements and progress of other companies. The audience know and love British
ballet companies with their tradition and high standards, and as a professional
company, we understand how difficult is to compete in quite a competitive market.

RAD receives Sir Kenneth MacMillan’s archive: A priceless ballet legacy preserved

Published on by Tabitha James1 Comment

The Royal Academy of Dance (RAD) announced the acquisition of the Kenneth MacMillan Archive, a monumental collection that offers an intimate look into the life and career of one of the 20th century’s most pioneering choreographers. With works like Romeo and Juliet, Manon, Mayerling, and Requiem to his name, Sir Kenneth MacMillan reshaped the landscape of British ballet and left an indelible mark on the art form.

This new archive, generously gifted by Deborah, Lady MacMillan, spans over seven decades of MacMillan’s personal and professional life. It contains a diverse array of materials, including photographs, diaries, handwritten notes, and letters, offering a rich insight into both his creative process and the people he interacted with throughout his career. The collection covers everything from MacMillan’s early years as a dancer with the Sadler’s Wells Ballet (now The Royal Ballet) to his groundbreaking choreography and tenure as Artistic Director from 1970–1977 and Principal Choreographer until his death in 1992.

“There is no doubt that Kenneth’s creative genius contributed to the evolution of the art form of classical ballet,” said Dame Darcey Bussell, RAD President. “He put British ballet on the international map, drawing stars from around the world to work with him and perform his works. The RAD could not be more grateful to have the honour of holding Kenneth’s archive.” She also added that with the RAD’s world-class facilities, the archive would be preserved and made accessible in an inclusive and educational way for years to come.

The collection’s materials are as varied as MacMillan’s career itself. Early items include his Grade 1 ballet exam certificate from 1944, while later personal papers reveal his interests outside of dance, such as his passion for fantasy jewellery — a hobby he explored through exhibitions like the Jewels of Fantasy at the V&A. Among the most poignant pieces are letters from influential figures like Dame Ninette de Valois, Mikhail Baryshnikov, and Jiri Kylian, as well as photographs from MacMillan’s time as a dancer and choreographer. These images capture both his personal moments and the key rehearsals and performances of his ballets.

“Sir Kenneth MacMillan was a visionary choreographer whose work had a profound impact on the evolution of ballet,” reflected Dame Monica Mason, RAD Vice President and répétiteur to MacMillan in 1980. “This archive is a wonderful legacy for the RAD to receive and will not only shed light on Sir Kenneth’s creative process but enrich our understanding of his life and the cultural context in which he worked.”

For RAD Artistic Director, Alexander Campbell, receiving the MacMillan archive is a personal as well as professional highlight. “As a huge personal fan of Sir Kenneth MacMillan’s work, I am delighted that the RAD is to receive this archive,” he said. “A visionary choreographer who challenged the status quo and shaped our understanding of what ballet is and can be, the opportunity to gain further understanding about Sir Kenneth and his process is a gift to all.”

The archive will undergo a cataloguing project in 2025, after which it will be made available to the public for educational research. As part of its ongoing mission to preserve the history of British ballet, the RAD’s extensive collection — which already includes over 75,000 items spanning a century — remains a vital resource for dancers, choreographers, and scholars alike.

For more information on how to access the RAD’s archives, visit: RAD Archive and Library.

The Nutcracker and I, by Alexandra Dariescu, choreographed by Jenna Lee with animations on a gauze screen featuring ballerinaÊDŽsirŽe Ballantyne atÊMilton Court Concert Hall, Guildhall School of Music & Drama as part of their Alumni Recital Series on Tuesday 19th December. Picture by Nigel Norrington. Mobile 07930 336261 The animations are by Yeast Culture

REVIEW: The Nutcracker and I

Published on by alexnorm14Leave a comment

Rating: 4.5 out of 5.

An interesting, modern take on the Christmas classic.

A single spotlight opens on a woman in a red dress sitting at a piano with her back to the audience; snow begins to fall. Instantly you’re captivated. That is how The Nutcracker and I begins.

The Nutcracker traditionally requires dozens of dancers, a full orchestra, and intricate costumes and sets; The Nutcracker and I is the short and sweet version. It condenses the massive show into a pianist, a ballerina, and a projector. This shortened version includes the most recognizable and beloved pieces from Tchaikovsky’s ballet: ‘Dance of the Sugar Plum Fairy’, ‘Arabian Dancé’, ‘Waltz of the Flowers’ and many more.

Pianist and Producer, Alexandra Dariescu is the highlight of this performance. Tchaikovsky’s music flowed effortlessly from her fingers to the piano. It is as though she and the keys were partners in some intricate pas de deux. Her fingers danced across the keys and the energy carried throughout her whole body. Though her back was to us, her strength and grace was evident. I applaud her for the selection of that backless red dress.

Ballerina, Imogen Ash is an exquisite performer. She embodies Clara’s childish playfulness and interacts with the projections just as easily as if they were physical dancers. While technically sound, she did suffer from a few wobbles and seemed to drop off her relève too quickly at times. Her jumps also left something to be desired; she did not find any suspension in the air, instead seeming to rush to and emphasize the landing as opposed to the jump itself. It was unfortunate that the lovely lightness of her expression did not translate into her dancing. This wouldn’t be a very thorough review if I didn’t talk about the state-of-the-art animations and digital effects that set this show apart from all other renditions of The Nutcracker.

Projections are used to convey Clara’s journey and all those she encounters. The art style is charming and especially stunning in how the backgrounds are drawn. The projected dancers are a wonder. Never did I think that I’d be complimenting the technique of an animation but these were flawless. No two animations were alike yet all were exquisite; their individuality lended them a human feel which allowed you to forget that there weren’t really dancers in front of you. The Arabian Coffee number was by far the most visually striking. Sometimes the animations seemed slightly off the music and stilted. There were also points where Imogen Ash and the animations fell out of sync. What was lovely was the way Ash and pianist Dariescu partnered with the projections and played off their energy as they would with live dancers.

The Nutcracker and I is a perfect family show. It’s short enough to hold the little ones attention and intricate and artful enough to captivate all ages. If you’re looking for a show this holiday season, The Nutcracker and I is the way to go.

REVIEW: Matthew Bourne’s Swan Lake – The Next Generation

Published on by Marianna Morante1 Comment

Rating: 5 out of 5.

“A mind blowing, beautiful interpretation of Tchaikovsky’s original”

On the 30th anniversary of Tchaikovsky’s original, Matthew Bourne’s Swan Lake: The Next Generation provides an innovative and exciting theatrical experience.

As someone who has had a love for ballet from a young age, I have seen basically every ballet imaginable at least once, but I was truly blown away by this interpretation of Swan Lake which was unlike anything I have seen before. The use of classical, neo classical and contemporary ballet techniques blended seamlessly together to create interesting and dynamic choreographic decisions which captured the audience’s attention the whole way through. Matthew Bourne continues to be an innovative practitioner in his field.

The all male Ensemble which replaces the traditional female Corp de ballet were phenomenal and remain a legendary aspect of Bourne’s repertoire. Their ability to embody the Swans in both their grace and physicality made the audience not only admire their beauty, but fear them in the later acts. The set and concept itself was wonderfully executed and fit into the story perfectly with nods to the original. My personal favourites were the ballet theatre featuring the box and the bar with themed Swan motif.

The stranger performed by Jackson Fisch, who should also be commended for his performance as the swan, represents the black swan in this interpretation and has a sequence of pas de deux with different characters on stage which was possibly my favourite section of the whole ballet. The contrast between the scene before and after his entrance ending in chaos was shocking to watch and his dynamic movements as a hyponotic and mysterious character were beautifully executed.

The ballet was engaging and took the audience on an emotional journey with comedic elements such as the character of the girlfriend and the corgi and the darker more psychological elements which can only be described as “nightmare fuel”. The swans in the final act becoming a thing of the Prince’s nightmares and appearing from the set almost like magic was unexpected and instilled the audience with morbid curiosity which was satisfied by the harrowing ending.

Many of the dancers within the company have trained with the New Adventures talent development program which supports training dancers from backgrounds with limited access to the arts. The work, dedication and passion put into this show by the production team and the dancers involved is evident to the audience.

Overall I was hugely inspired and impressed by this piece of work and would suggest this to anyone who wants to experience a unique and different interpretation of the winter classic. Matthew Bourne’s Swan Lake: The Next Generation is at the Lowry from the 19th- 30th of November.

In Conversation with Daisy Sequerra

Published on by Tabitha James1 Comment

We sat down with Daisy Sequerra who plays Posy Fossil in National Theatre’s new adaptation of Noel Streatfeild’s beloved book Ballet Shoes.

Ballet Shoes will play in the Olivier Theatre from 26 November 2024 to 22 February 2025. Recommended for ages 7+

Tickets are on sale now, nationaltheatre.org.uk.

  1. How does it feel to take on the role of Posy Fossil, a character who is so beloved by readers of Ballet Shoes? What aspects of her personality are you most excited to bring to life on stage?

I am so honoured to get to tell Posy’s story and share her with a new audience as well as existing fans of the book! Her drive is always something I really connected with growing up and I love how she unintentionally makes people laugh so I can’t wait to bring those to the stage. I also know there’ll be lots of young children (and adults!) who may have never experienced the world of ballet before, so I can’t wait to introduce them to what was my first love!

  1. Posy is known for her passion for ballet and determination to become a great dancer. How did you prepare for this role, particularly in terms of the ballet and dance elements, and what has been the most challenging part of that process?

Posy’s dance journey is so integral to her story, and this was something I was thrilled to get to portray since ballet has been such an important part of my life growing up too. I trained intensely over summer in preparation for rehearsals and I would say the most challenging part was finding Posy’s dance language – everyone has a different way of moving and so stepping out of my ways and creating hers for each style was challenging at first but so fun! 

  1. Ballet Shoes is set in a time when opportunities for young women were limited. How do you think Posy’s ambition and drive resonate with modern audiences, especially young girls who might see themselves in her?

My dream with this role is exactly that – for young girls to see that ambition within themselves no matter what their passion is and know that it’s all possible! I think that’s what makes Noel Streatfield’s novel so incredible – it taught girls to dare to dream in a time where opportunities were so limited. And despite there being a lot of progress since then, there’s still a way to go which is why I think it’s so important to remind modern audiences of the same. 

  1. This is the first major stage adaptation of Ballet Shoes. How does the production capture the charm and magic of the original book while bringing something new for theatre audiences?

I adored the book growing up, and our show retains all the joy and heart of Noel Streatfeild’s novel! It really is the perfect book for stage – it’s a love letter to performing and theatre gives us the opportunity to create some magical visual sequences that build upon the vivid world from the novel. Our set and costumes transport you straight to the 1930s too – audiences could spend hours admiring all the details!

  1. The show features an impressive creative team, including choreographer Ellen Kane and composer Asaf Zohar. How has it been working with such a talented group, and how have they helped shape your portrayal of Posy and her journey as a dancer?

Being surrounded by our creative team each day is so inspiring! Ellen and Asaf’s work have been so linked to Posy’s journey; having their incredible choreography and moving music allowed me to find her dance progression throughout the play. I’m very grateful to get to work alongside people who take such care with their work!

FEATURE: A brand new production from Scottish Ballet: Mary, Queen of Scots

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Scottish Ballet is thrilled to announce the world premiere of Mary, Queen of Scots, debuting at the Edinburgh International Festival in August 2025, with a subsequent tour across Scotland. This original production offers a fresh perspective on the historic relationship between Mary, Queen of Scots, and Queen Elizabeth I, told through Elizabeth’s eyes as she reflects on her complex bond with Mary in her final hours.

Directed by Scottish Ballet’s Choreographer in Residence, Sophie Laplane, Mary, Queen of Scots marks Laplane’s first full-length narrative ballet. Designed in collaboration with director James Bonas (The Crucible), the ballet pairs historical themes with a strikingly modern set by award-winning designer Soutra Gilmour, known for her acclaimed work on Merrily We Roll Along and & Juliet. The intergenerational cast includes various dancers playing the role of Elizabeth I, with guest artist Charlotta Öfverholm portraying Elizabeth in her later years. Mikael Karlsson and Michael P. Atkinson, the composers behind Scottish Ballet’s 2022 Coppélia, return to create a rich, emotive score for this new work.

“This story is a cornerstone of Scottish heritage and one we haven’t explored since the 1970s,” says Scottish Ballet Artistic Director and CEO, Christopher Hampson. “Through Sophie’s fresh approach, we’re seeing the Mary/Elizabeth relationship in a new light—balancing the weight of history with an inventive energy that brings new dimensions to these characters.”

The production is part of a significant year for Scottish Ballet, which includes a spring tour of A Streetcar Named Desire and Dextera in New Zealand, a premiere of its first full-length dance feature film in autumn, and a London production of Twice-Born.

Scottish Ballet is committed to reducing its carbon footprint and embracing sustainable practices in the creation of Mary, Queen of Scots. Support from the Bently Foundation allows the company to track and reduce emissions for this production, contributing to a more sustainable future for stage and screen. This production also represents the culmination of Scottish Ballet’s Five in Five Campaign, launched in 2019 to commission and stage five new full-length ballets over five years in celebration of its 50th anniversary.

Tour Dates:

  • Edinburgh International Festival: August 2025
  • Glasgow, Theatre Royal: September 17–20, 2025
  • Eden Court Highlands, Inverness: September 26–27, 2025
  • Aberdeen, His Majesty’s Theatre: October 2–4, 2025

Mary, Queen of Scots is supported by patrons of the Five in Five Campaign, a testament to Scottish Ballet’s commitment to creating a lasting legacy for Scotland and expanding the reach of ballet to new audiences. Scottish Ballet, founded in 1969, continues to innovate in dance, presenting a diverse repertoire that combines classical technique with modern storytelling.

For more information, visit scottishballet.co.uk.

REVIEW: Birmingham Royal Ballet: La Fille mal gardée

Published on by Lucy HolzLeave a comment

Rating: 5 out of 5.

A rollicking story ballet for the whole family

Frederick Ashton’s comic ballet has been performed by Birmingham Royal Ballet since 1962 and is known as a classic piece of modern ballet repertory. Following the story of Lise and her beau Colas, La Fille mal gardée tells the tale of love; familial, unrequited and returned.

Despite her mother’s plans to marry her off to Alain, son of a wealthy vineyard owner, Lise refuses to deny her heart’s desire and continues to sneak off with Colas. The perfect ballet for the whole family, this fun-filled production has comic sketches, farmyard animals, clog dances and even an appearance from a 20-year old Welsh pony.

Beatrice Parma is a technically efficient and artistically beautiful Lise, perfectly capturing her youthful charm and rebellious nature. Paired with a dashing Enrique Bejarano Vidal as Colas, the two make the perfect pair, with the whole audience rooting for the couple’s success.

In the classic role of widow Simone is a blustering Rory Mackay, easily playing his part as an overbearing but sentimental mother with a particular aptitude for clog dancing. However, no-one steals the show more than Alain, played to hilarious perfection by Gus Payne, pairing high technical difficulty with artistic brilliance. Filling the auditorium with giggles, the comic elements of this production are emphasised but not overplayed, with a combination of expressive slapstick and beautifully executed dancing.

These solo performances are backgrounded by a strong ensemble of artists, with a special mention to the crowd-favourite cockerel, performed by August Generalli. No-one could master a rooster’s mannerisms better, except perhaps his clucking harem of hens.

The timeless ribbon element of this production is performed with an infectious vitality, the leading couple creating shapes with their length, the ensemble carrying out the iconic maypole dance, and Parma holding an elegant arabesque, unsupported amongst a sea of pink ribbon.

Accompanied by the Royal Ballet Sinfonia, this light-hearted revival is the perfect ballet for the whole family. The score, conducted by Paul Murphy captures the levity of the story playing out before it’s audience on stage, bringing all visual elements together to create a flawless production.

An unmissable treat for the young ballerina in the family, this production is the perfect introduction to classical dance. A full-length ballet split into 3 acts, this rendition is easily digestible for the ballet newbie, or the small children in the family.

REVIEW: Giselle

Published on by dorasrosaLeave a comment

Rating: 4 out of 5.

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.