We can all argue as long as we like about whether Mary Skeaping’s Giselle, first produced in 1971 and currently in performance by English National Ballet at the London Coliseum, is the closest version of all to the original. It is certainly a contender; Skeaping was a scholar and she researched assiduously, digging deep into the archives, and into her own memories from her performing days in the 20s and 30s, in her quest for accuracy. But all classics undergo tweaks and changes over the decades (or even centuries). Skeaping’s version is as true to the original concept as is necessary to convey the true sense and experience of a Romantic-era ballet, and the love and purity with which it is danced today will ensure its continued presence in the repertoire for decades (or even centuries) to come.
The story – simple village girl falls in love with Albrecht, a count disguised as a peasant in order to woo her, and dies of a broken heart when the deception is revealed – is the familiar one from most companies’ productions, and here it gains in clarity through Skeaping’s restoration of some moments of mime that are often cut. The lovely storytelling by Berthe (Laura Hussey) in Act 1 means that we, as well as every character in the village, knows the danger that lurks in the forest in the shape of the vengeful Wilis.
Skeaping also restored sections of ‘lost’ music, and rearranged the score in small ways that brought it closer to its earlier incarnations. The presence of Gavin Sutherland in the pit makes a tremendous contribution to validating Skeaping’s musical decisions; the speedy tempi in the first act make the phrases of demanding footwork thrilling to watch, and Sutherland seems to draw emotion from the orchestra that complements the story unfolding on stage.
David Walker’s sets, a pretty village for Act 1 and a darkly threatening forest glade in Act 2, create a deeply theatrical atmosphere.
One of my favourite aspects of this production is the stepping away from virtuosity. Giselle is really not supposed to be a showcase for pyrotechnics, and too much slowing down of the music to allow the ballerina to show off extreme balances or too many entrechat sixes by Albrecht in Act 2 detract rather than enhance the ballet as a whole. Here the focus is on precise, neat work with soft, rounded port de bras and charismatic rather than melodramatic acting, and that is exactly how I like it.
The first night cast, including the penultimate performance with the company by Erina Takahashi, brought plenty of top-class dancing and some remarkable interpretations. Takahashi herself, always the most insightful of dancers who seems to have a depth of understanding of her own body and its mechanics that enables her to get the very best out of her magnificent technique, gave us a sweet, sincere Giselle who shows genuine forgiveness in Act 2 and a mad scene of heartrending verisimilitude. She will be so missed as a dancer, but she will be a nurturing, knowledgeable coach and in this role her value to the company will continue. In other roles, I greatly admired James Streeter and Stina Quagebeur as the Prince and his daughter Bathilde; no over-characterisations here, just two people experiencing a difficult situation with natural humanity. Laura Hussey as Berthe was perfect. The peasant pas de deux was danced very well by Ivana Bueno and Noam Durand; the height of Durand’s jumps is particularly impressive.
Precious Adams as Myrtha is utterly majestic, carrying out her revenge on Hilarion in a calm, no-nonsense manner that made her defeat by Giselle and Albrecht even more of a cliff-hanger. As the dawn bells ring out she is hovering over them as Albrecht lies prone, her arms outstretched ready to pounce, pure menace emanating from every pore. Adams seems to develop with every season; she has a natural elegance, with long, slender limbs and a lovely face, and she never fails to give utmost attention to the form of every step.
Francesco Gabriele Frola has become the mainstay of the company’s top ranks. He is a master technician and always a pleasure to watch, but I have not previously thought of him as a great dance-actor. Here, however, his interpretation reminded me of that of Mikhail Baryshnikov in its innocence; he really hasn’t thought through his seduction plan, and the ensuing disaster engenders in him palpably painful remorse in Act 2. Frola’s partnering is gentle, attentive and seamless. He will continue to mature with absolute grace, I feel sure.
The corps de ballet performed to the very highest standards, several dancers including Anna Nevzorova and Rhys Antoni Yeomans standing out. The whole production was excellently rehearsed and presented. Go and see it if you can.