Review: GISELLE, London Coliseum

Fresh from no fewer than 40 performances of Wayne Eagling’s Nutcracker (a production which now seems to thankfully be going into retirement) English National Ballet, are back less than a week later to round off their Coliseum season, this time it’s Mary Skeaping’s Giselle which they last performed seven years ago. 

Lots has changed since then, in 2017, two seasoned Principals (since departed) took the lead roles, now there is a new leading couple for opening night, First Soloist Katja Khaniukova and Aitor Arrieta, a newly promoted lead Principal who has risen quickly through the ranks. The vehicle for them is a classic in the ENB repertoire, Skeaping’s Giselle is a deeply traditional take on the story; girl (Giselle) meets boy (Albrecht), but the boy is a Prince and actually engaged to Bathilde. Once discovered Giselle dies of a broken heart, the pair are reunited in a ghostly second act where Albrecht is haunted by the Wilis’, women who died before their wedding day. They are led by their Queen, Myrtha, who forces the Prince to dance himself into exhaustion. 

David Walker’s charming designs and the muted colours of Act I will please many, but knowing the thrilling dynamism ENB have so frequently demonstrated of late (see the Akram Khan’s interpretation, Our Voices triple bill and the Forsythe Evening) this does feel a little flat at times. Despite this, Adoplhe Adam’s score, full of memorable motifs, is a welcome relief from the Sugar Plum Fairy and the Snowflakes.

Khaniukova is a gentle Giselle, small-framed and fragile, wide-eyed and innocent, together with Arrieta’s sincere Albrecht they are charming and bring a youthful romanticism to the roles. The mime is well done and the loves-me-loves-me-not section is playful and sweet. They lack some impact but Act I lends itself to the understated interpretation and gives them room to develop in Act II. The corps provide strong support, bouncing enthusiastically to Adam’s score, all sunny pas de basques and springy jumps. I particularly liked how the men rolled up their sleeves at the first sign of a fracas between Albrecht and Hilarion (Fabian Reimair). 

There is a promising showing from Daniel McCormick and Ivana Bueno is the peasant pas de deux, both technically strong and powerful dancers. McCormick has faultlessly neat and soundless landings but a slight awkwardness in the carriage of the upper body. Bueno flows with gorgeous musicality and great stamina. They lack a little synchronicity in the side by side sections in an otherwise strong debut.

Act II holds the real appeal of this ballet and the moonlit graveside where the Wilis’ reside. Alison McWhinney makes a welcome return from maternity leave as Myrtha. Her opening solo is controlled and lacks a bit of panache but she warms up as the act unfolds, her mime is particularly icy, leaving Albrecht in absolutely no doubt that she’s not to be messed with. She’s quite captivating here. The corps of Wilis’ are the stars of the act, flawlessly drilled, melancholy and hypnotising in the arabesque hops across the stage as the score begins to swell. A word too for Chloe Keneally’s confident Moyna, still a relatively new Artist of the company, she has a commanding stage presence and is one to watch for the future. 

Khaniukova’s ethereal qualities are put to great use here too, her jumps now heavy with the grief she endured before her death, and a downcast Albrecht hunches with repentance, their sincerity to each other remains amongst the dramatic denouement. 

ENB bring quality to whatever they do, Skeaping’s traditional take is deserving of its place in their extensive repertoire, it’s a pleasant if not thrilling recount of the story but the company is better served with more modern material. 

Giselle is at the London Coliseum until January 21.

Image credit: Laurent Liotardo 

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