London Coliseum, London.
18 January 2025.
The usual pre-performance buzz was alight in the luxurious auditorium of the London Coliseum, mainly adults plus a few children in attendance. Surprising for a matinee perhaps but not unusual given the dark storyline of one of the greatest 19th century ballets, Giselle.
In 1971, Dame Beryl Grey commissioned Mary Skeaping to create a new Giselle especially for the English National Ballet. Aaron S. Watkin, current Artistic Director of the English National Ballet, said that the company was proud to share Mary Skeaping’s Giselle with audiences today as part of its 75th anniversary celebrations. He offered sincere thanks to the dedicated team of creatives who have lovingly staged the work and whose attention to every detail is invaluable.
Skeaping’s work is a delightfully sensitive restoration of the ballet, with a focus on reinstating the purity of the original work. Skeaping restored several scenes that had been cut from more modern versions, with emphasis on character-led mime. This was apparent and enjoyable throughout the production but particularly in Act 1.
A bright woodland opening setting lent itself well to the warm feeling of community and energy that was immediately created on stage by the company and maintained throughout Act 1. Dancers wore their hair loose, there was plenty of relaxed natural stance, and dancers’ rapport with one another was very clear and appealing. Gesture and touch and continual characterised movement had been paid a lot of attention to.
Giselle, danced by Katja Khaniukova, burst from the cottage with lively elevation, showing her free and expressive character. She and Albrecht, danced by Aitor Arrieta, were very entertaining in their flirtations. Albrecht, in particular, had several musical opportunities to express humour, showing sensitive rehearsal with the orchestra, for example, when he gestured to his Squire to leave him alone to pursue Giselle, and in blowing her audible kisses in the musical pauses. The audience enjoyed these humorous moments which were dotted throughout.
The Peasant Pas De Deux stood out in Act 1, keenly applauded by the audience and expressively performed by Francesca Velicu and Shunhei Fuchiyama. They were energetic and genuine in their interaction with one another, and powerful and entertaining in their executions.
In learning that Albrecht was of royalty and already had a fiancée in Bathilde, an effective use of freezeframe for the whole company on stage was used, with only Hilarion and Giselle in movement. Giselle began the famous madness scene, resulting in her death from a weak and broken heart (her heart problems carefully foretold in Act 1 by her mother).
She sat pulling the petals of a flower; ‘He loves me, he loves me not.’ And she recalled their dances and special moments together, moving in a daze which was made incredibly compelling by the whole company closing in a loose semi-circle around Giselle’s central action. Their expressive eyes and faces on her, their continual movement and outstretched arms as she lunged towards and pushed through them, built the heart-rending end to Act 1.
The brightness of Act 1, albeit in autumnal shades of browns and golds, contrasted wildly with the cold depths of despair in Act 2.
The curtain opened deep in the gloomy woods; think dry ice, shadows and blue/green lighting. Giselle’s grave was marked by a cross stage left. The men of the village had ventured into the woods carrying lanterns. The foreboding chiming of bells announcing midnight echoed round the auditorium; a reminder of the luxury of being in and amongst live performance. There were some barren moments of empty stage, perhaps to build suspense, but possibly also losing the audience’s absorption.
Shadowy Wilis began to appear, and disappear, frightening the men away. The role of Myrtha danced by Emily Suzuki, began as a softly compassionate representation of the Queen of the Wilis. As the Act progressed, she plucked branches from trees, and her aura of power and authority grew.
Albrecht entered wearing a huge cape that flowed along the floor behind him, illustrating the trailing despair of grief. He carried a bouquet of white lilies which he laid at the gravestone.
The corps de ballet filled the stage, their heads covered with veils, used expressively with the music; such tangible growing power evident on the stage via their identical movement. On leaving and returning without the veils, they began their expressive work of synchronisation; their exquisite white fading to grey costumes, twinkling in the light. There were some very satisfyingly 19th century stationary decorative poses, whilst Myrtha danced centrally. Side lighting added another dimension of mystery, as did the audible ripple of the Wilis pointe shoes as they glided in courous across the stage. The Wilis gathered around Giselle’s grave, and she appeared, stepping forward towards Myrtha who commanded her to dance as her initiation.
The tragic ending of Giselle, with both Giselle and Albrecht begging Myrtha for his life only to be refused was emotional and transfixing. The powerful crescendo of the music as he was condemned to dance to death, contrasted vividly with the clang of the bell, and softer music as sunlight seeped in, warming the stage. Albrecht had been saved by the power of daybreak. The Wilis melted from the stage in defeat, this final part of the story beautifully timed and punctuated with the musical score, performed lusciously and responsively by the English Ballet Philharmonic Orchestra.
Giselle held Albrecht’s hand to her heart before softly leaving him wretched and alone. The curtain fell on his desperate stature clutching the flowers he had brought and looking wildly out to the audience.
By Louise Ryrie of Dance Informa.
