Vikki Jane VILE
Akram Khan’s Giselle is only eight years old, the production premiering at Sadler’s Wells in 2016, but has quickly become an unmistakable linchpin of English National Ballet’s repertoire. Having received much critical acclaim, it’s a rare creation that benefits from repeat viewing; the hypnotic movement vocabulary, Tim Yip’s unique designs and Vincenzo Lamagna’s thunderous score. For English National Ballet, much has changed too, with Tamara Rojo dancing the lead role for its premier while in post as Artistic Director. She has of course moved on now, and new boss Aaron S. Watkin not only recognised the strength of the production in quickly reprogramming it, but exciting casting opportunities. This current revival sees several rising stars of the company making their debuts in the principal roles.
Two such dancers are Francesca Velicu and Rentaro Nakaaki, who thrive as Giselle and Albrecht. For Velicu, her first performances with ENB were back in 2016 in this very production when she was an Artist of the company. She has since risen up to Soloist and won an Olivier Award for her performance in Pina Bauch’s The Rite of Spring along the way. Her trajectory continues to head in only one direction, alongside Nakaaki who is also now a Soloist. More of them later.
Khan’s take sees Giselle as a migrant factory worker, one of many Outcasts, dispossessed by the closure of the factory by wealthy Landlords so now function only as entertainment. They are enclosed by an imposing, dense wall, indented with handprints speaking of their desire to escape. It’s dark and claustrophobic and speaks of a bleak history.
The ensemble moments are breathtaking; the rattle of the barefeet across the stage, jumping and hopping to the booming beat of Lamagna’s entrancing score. Fans of the traditional take will likely feel unsettled at first but the storytelling, especially in Act I remains clear, as Nakaaki’s Albrecht attempts to hide at the arrival of Bathilde (Isabelle Brouwers), his intended, and the arrivals of the Landlords (the costume for the Landlady remains iconic and worth the ticket price alone).
It’s hard not to warm to the central pairing, who share a connection from the moment she places her hand to his face. Lamanga’s score lilts romantically, with obvious influence from Adolphe Adam’s original music. The dreamy, weightless pas de deux is somehow also heavy with a sense of foreboding. Nakaaki and Velicu are a strong partnership who anticipate each other well. Nakaaki is stoic and strong for his lover, Velicu’s Giselle, although nimble and agile, has a beautiful serenity when they share the stage.
It’s important too, to acknowledge the relentless pace of this first act. Khan could have indulged more in the ensemble scenes, their patterns and formations, dancing rings around the two lovers is majestic. The energy of Hilarion (José María Lorca Menchón) and his fellow outcasts, the kathak rhythms of the movements, it all flows so impressively. Even ballet purists couldn’t fail to be lured in by the pure drama of it.
Act II sees a change of pace and a tone that is more directly dark in its tone. The memorable image of wild-haired Wilis’, filling the stage, the rumble of their pointe shoes and their command of those canes is effective and theatrical, enhanced further by Mark Henderson’s eerie lighting.
Alice Bellini’s ferocious Myrthe is a deeply imposing figure, she is another emerging star who has no problems commanding the stage here. Although the storytelling is less keenly felt here, the moment when Giselle chooses to leave Albrecht and go with Myrthe is quietly devastating.
A tighter, better paced two hours of theatre you will not find. Moreover, the artists match every bit of the creativity on offer here with their performances. They are sensitive and intelligent, danced with a heartfelt purity but also technically assured in Khan’s relentlessly physical choreography. These are not nervy debuts of emerging stars but confident showings that speak of ENBs promising future.
