Giselle really is one of the great romantic ballets. It’s all about innocence and experience, the pastoral and the supernatural and, most of all, the power of love. Late last year, the English National Ballet revived this classic tale with Akram Khan’s Giselle, a very modern interpretation that’s been a success for the company since 2016.
This current production revives a much older staging, one that was first choreographed for the ENB by Mary Skeaping back in 1971. At the time, Skeaping was also looking back, researching its dance history and dedicated to making the work truly authentic and accurate. It’s testament indeed to her creative discipline and eye for detail that her production still looks fresh and enchanting some 50 years on.
The ballet opened with the innocence and optimism of Giselle celebrating her love for Albrecht with all the village there to share her joy. Sadly, of course, her beloved has deceived her, and Giselle is doomed under the weight of her heartbreak. The set and design were just a delight here, embodying a ‘traditional with a modern twist’ ethos. This wasn’t just a copy of an old production; it was a genuine homage.
There was a rotating principal cast for this final run of six performances with retiring ballerina Erina Takahashi dancing the titular role at the first and last performances to huge acclaim. She has quite a following among loyal balletomanes after an amazing career of some 30 years with the ENB.
For the performance this reviewer attended, First Soloist Katja Khaniukova took the lead ably complemented by Aitor Arrieta as Albrecht. Individually they danced with flair and enthusiasm, but the magic really happened when they were on stage together. As always, it’s the little details that really make a ballet extra special – a look, a kiss, a tiny gesture. The ‘Peasant Pas de Deux’, danced here by Francesca Velicu and Shunhei Fuchiyama, was just delightful, with precise timing and engaging chemistry.
The colour palette chosen by designer David Walker was beautiful, with lots of warm, autumnal shades, enhanced with gold and jewels for the ladies and gentlemen of the Court. Indeed, all the scenes with the dancers of the company were splendid, especially those designed as a tableau.
Act 2 saw a complete change of mood as we entered the supernatural world of the Wilis, the ghostly brides who can entreat young men to literally dance themselves to death. The lighting here, designed by David Mohr, played a key role in setting the scene. This was a much darker world, both literally and metaphorically.
The rich score by Adolphe Adam was brought to life by the English National Ballet Philharmonic under guest conductor Gavin Sutherland. The music was vivid and colourful throughout, capturing all the fairy tale nuances.
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This was a satisfyingly traditional telling of this beloved ballet tale, danced with elegance and enthusiasm.
Mary Skeaping’s Giselle
English National Ballet with the English National Ballet Philharmonic and Conductor Gavin Sutherland
Principal cast for 16 January: Katja Khaniukova, Aitor Arrieta, Fabian Reimair, Emily Suzuki, Francesca Velicu, Shunhei Fuchiyama
With the dancers of the company
Original choreography: Mary Skeaping, Jean Coralli, Jules Perrot
Composer: Adolphe Adam
Music Director: Maria Seletskaja
Designer: David Walker
Lighting Designer: David Mohr
Artistic Adviser: Irmgard E Berry
Mary Skeaping’s Giselle was performed from 15-18 January 2025.
