Akram Khan is a talented choreographer, so what on earth is behind his version of Giselle, one of the most dearly loved works in the classical repertory?
The only the word appropriate here is “marketing”. The new version of the story is unremittingly grim, the lighting dim and the characters repetitive and dull, all designed to illustrate that there is a “modern” feel to a 19th century Romantic classic.
The title is familiar to a wide public which will associate past quality with the old name and in turn hopefully result in healthy ticket sales. And indeed in her younger days Tamara Rojo, the English National Ballet’s current artistic director and lead principal dancer, was one of the most convincing Giselles yet seen on the British stage.
Unfortunately today’s Rojo is on a different plane. Her once exquisitely slender build is now on the square side, to be accepted of course when you reach your early 40s, while Mark Henderson’s minimalist lighting cast unfortunately heavy shadows on what I am sure is still her expressive face.
But nothing could hide the excellence of the dancers currently making up ENB. James Streeter, a long-standing company dancer, has developed his acting talent to a high degree and as our hero, Albrecht, gives a gripping performance. A quiet strength and deep commitment culminated in a memorable love duet with Rojo just as the final curtain falls.
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Cesar Corrales plays bad boy Hilarion trying, by fair means or foul, usually the latter, to divert Giselle’s attentions to himself. Khan places him often displaying his virtuosity in the middle of a stage full of dancers. But no matter what, Corrales is eye catching and a joy to watch.
The Act 2 Willis, originally young women killed by man’s unfaithfulness, are described in the programme as dead female migrant workers, confirming my belief you should never to read programme notes.
The whole company dances superbly and are a pleasure to watch, and one of the most impressive elements in the evening was Vincenzo Lamagna’s music. With just a hint of the original score, Lamagna moved from profound evil to tender love while never breaking the story’s thread. At least ENB is marketing a winner.
Akram Khan’s Giselle English National Ballet Sadlers’ Wells, London EC1 (Run ended; sadlerswells.com)