ENB Mary Skeaping Giselle Review 5*
Transporting performances by English National Ballet bring Mary Skeaping’s Romantic Giselle to vibrant life at the London Coliseum
At its best Giselle is one of the most emotionally involving ballets in the repertoire; and the version danced by English National Ballet, painstakingly recreated from the 19th century original by Mary Skeaping, is the very epitome of Romanticism.
Its limpid, uncluttered narrative and clear, expressive mime effortlessly draw the audience into the story of the naive peasant girl Giselle, who’s head over heels in love with a handsome stranger, unaware that he is, in fact, Albrecht, Duke of Silesia, out to have a little inconsequential fun, as one does…
ENB, Erina Takahashi and Franceco Gabriele Frola in Maryn Skeaping’s Giselle. Photography by ASH
The revelation of his betrayal causes her to go mad and die; in Act II she joins the spirits of brides who died before their wedding day, the Wilis, who force any man venturing into their forest domain to dance to death.
Artists of English National Ballet in Mary Skeaping’s Giselle. Photography by ASH
A repentant Albrecht is only spared that gruesome fate by the intervention of the forgiving Giselle; but her rebuffed suitor, the village man Hilarion (a forceful, unsympathetic Fabian Reimar), is not so lucky.
Skeaping’s Giselle has been English National Ballet’s own since 1971, and in the first night of this revival at the Coliseum the company offered performances of the highest calibre at all levels, from the well-drilled corps of Wilis through to the principal dancers.
ENB Lead Principal Erina Takahashi danced Giselle in her penultimate performance before she hangs up her pointe shoes, only four months after she demonstrated her versatility with a gripping interpretation of ENB’s other Giselle in Akram Khan’s modern, industrial, very physical version.
After a 29-year career she retires at the very peak of her powers with a Giselle to remember: her detailed, unforced technique at the service of intelligent characterisation as the skittish girl who overcomes her shyness to abandon herself to her love of dancing and the ardour of Albrecht’s courtship, her madness and death scene deeply moving.
In Act II she Is an ethereal spirit, yet strong enough to oppose the daunting Queen of the Wilis, Myrtha, danced with thrilling technique and tremendous authority by Precious Adams.
ENB, Erina Takahashi and Precious Adams in Mary Skeaping’s Giselle. Phtography by ASH
Takahashi was partnered by Francesco Gabriele Frola as a playful, insistent suitor in Act I and a chastened, repentant man in Act II. There was convincing chemistry between the two leads, and Frola, a sympathetic partner throughout, grabbed the chance to show off his virtuoso dancing in the climax of Act II.
ENB, Francesco Gabriele Frola in Mary Skeaping’s Giselle. Photography by ASH
There was glorious dancing, too, in the Act I peasant pas de deux, with Noam Durand displaying great ballon, crisp batterie and immaculate landings, in perfect synchrony with a sunny Ivana Bueno.
David Walker’s finely judged designs – Giselle’s wooden house in a forest clearing in Act I, a ghostly, dense forest in Act II – are atmospheric, and the action is enhanced by David Mohr’s subtle lighting (recreated by Charles Bristow).
The English National Ballet Philharmonic conducted by Gavin Sutherland gave its usual cogent reading of Adolphe Adam’s eloquent score.
Erina Takashi retires from dancing to become a full time repetiteur at ENB – she will bring her intelligence, sensitivity and artistry to bear on her new career for the benefit of younger colleagues. We will miss her, though.
(Banner Image credit: ENB Erina Takahashi and Francesco Gabriele Frola in Mary Skeaping’s Giselle. Photography by ASH)
© Teresa Guerreiro
English National Ballet dance Mary Skeaping’s Giselle at the London Coliseum 16- 18 January 2025. Full info and tickets here