capybara Posted October 2, 2016 Share Posted October 2, 2016 (edited) It was immediately obvious from the ticket queues outside that Akram Khan’s Giselle was attracting a younger than usual (theatre as distinct from ballet) audience full of people who had never seen the traditional Giselle. So very well done to ENB for that alone. Yesterdays’ matinee (1st Oct) began with a short film produced as part of ENB’s outreach programme (very enjoyable and very professionally done) followed by some 20 minutes to address “technical problems”. Although we weren’t told what these were, the lighting (well, its absence) virtually blotted out the corps and cast such dark shadows on the faces of the principal characters (played by Fernanda Oliviera, Fernando Bufala, Oscar Chacon and Laurretta Summerscales) that, from my perspective, it would be unfair to pass comment on most of their performances. However, the menace and power of Laurretta Summerscales’ Myrtha cut through the overall 15w gloom very tellingly. Now properly lit, the evening show felt like an entirely different production. While the atmosphere remained ‘dark’, there was a clear contrast between the slightly yellow ‘migrant’ scenes outside the wall and the eerie, backlit blueish greys of the warehouse haunt of the Wilis. And we could read faces (hurrah!), see all the corps, watch Hilarion climb down the wall, and identify individuals in the Landlord’s group. I had wondered whether Alina Cojocaru’s Giselle would have enough weight in the context of Khan’s movement but her range was a revelation and her interpretation heart-rending. Not unexpectedly, Cesar Corrales’ Hilarion was dominant whenever he was on stage and the way he moved was breathtaking. Stina Quagebeur was very commandingly other-worldly and I loved the way that the light playing through her flowing fair hair added to her ghostly image. Her amazingly affecting portrayal ensured that Act 2 retained much of the force of the original, albeit very differently. The moment when Giselle’s stare disorientates Myrtha and allows Albrecht to escape death is wonderfully done. The ENB corps (as migrants and Wilis) were supercharged and their energy gave huge force to both acts. Special mention here for Crystal Costa, newcomer Georgio Garrett, Rina Kanehara, Anton Lukovkin, Maria Jose Sales and Ken Saruhashi whose verve and quality of movement managed to draw one’s eye in the midst of such excellence. I admired the way the ensemble numbers (some of them backlit to great effect) gave a sense of desperation and that, in the midst of it all, there were at least a couple of nods to the traditional choreography such as wheel made by the peasants and the cross-stage gliding of the Wilis. I did not have any problems with the storyline although I do think that the synopsis would benefit from a bit of tweaking. My take on Giselle’s death is that, because of her association with Albrecht, the Landlord encourages the migrants to persecute her - with a tragic outcome (whether that be, for example, from suffocation or a heart attack). This interpretation – i.e. that the Landlord was to blame for Giselle’s death – was reinforced for me by Albrecht’s solo at the beginning of Act 2 where he is clearly and angrily blaming his tribe for what has happened. Unlike some posters above, I did not think Giselle was alive at any point in Act 2. Isn’t it the case that her lifeless body is dragged into the warehouse by Myrtha whose super-natural might then re-incarnates her as a Wili? However, there are some remaining questions for me about Albrecht. I feel that it needs to be clearer from the outset (and not just via Hilarion’s mocking gestures) that he comes from a rich world. Maybe, at his first entrance, we could see him shed an expensive coat before he mingles in his migrant’s garb? Maybe the choreography could (initially at least) differentiate his movement more from that of the migrants? Maybe he could contrive to look (even) more ill at ease among them? Although Isaac Hernandez danced as beautifully as he always does and invested much physical effort in his Albrecht solos, if the essence of the narrative is to work, his face needs to tell the audience more about his real love for Giselle (who was relating to him with such adoration in every ounce of her being), his desperation, and his remorse. To my ears, the music (with its echoes of Adolphe Adam) and sound effects suited the piece perfectly and often heightened the intensity of what was happening on stage. I take my hat off not only to the composer (Vicento Lamagna) but also to Gavin Sutherland who must surely have burned the midnight oil to orchestrate it. The ENB Philharmonic was on its usual good form. I am astonished to find that I have written so much and yet have left so much still unsaid. But, although the piece is not without its flaws, I am smitten. Thank you Akram Khan and your collaborators. This is gripping modern dance theatre for everyone. Those standing ovations say it all. ENB has scored another triumph. Edited October 2, 2016 by capybara 9 Link to comment Share on other sites More sharing options...
Bleaden94 Posted October 2, 2016 Share Posted October 2, 2016 (edited) I know this is a bit late, but here is my reaction to the Cojocaru/Hernández/Corrales performance on Thursday. Having seen the Royal Ballet Giselle in March this was a wonderful comparison. I have to admit, my favourite dancer of the evening was Corrales, my friend and I both thoroughly his interpretation of Akram's Hilarion. We felt our eyes drawn to him throughout the ballet, I would love to see more of his dancing. Though it was extremely fascinating to watch Cojocaru in a contemporary work, having only seen her in purely classical roles before now. I loved the different music, with snippets of the original music involved, as well as the different setting. The hunting horn was more of an alarm, much more threatening than the RB gentle hunting horn, something far more sinister. As all of the programmes had sold out, I was unable to read the full perspective created by Akram, so I had no idea about the whole refugee storyline, and in reflection the storyline was left a bit wanting, but it was still thoroughly enjoyable and emotional. I also preferred Akram's group dances in Act 1, to the repetitive pas de six in RB's Giselle, the music and the choreography was stunning. Edited October 2, 2016 by Bleaden94 2 Link to comment Share on other sites More sharing options...
LinMM Posted October 2, 2016 Share Posted October 2, 2016 At the rehearsal I went to Giselle is definitely dead in Act two and the queen of Wilis brings her "back to life" as a Wili .....albeit in the Spirit world ....and as I have said before Stina Q was just amazing and powerfully scary in this role even in the studio setting!! I'm so looking forward to seeing this now!! I see this on October 27th and then just five days later on November 1st ...the Giselle at the Mariinsky in St Petersburg I think I've got two treats in store!! 3 Link to comment Share on other sites More sharing options...
alison Posted October 2, 2016 Share Posted October 2, 2016 I wish that ENB could do this on a cinema relay so everyone can get a chance to see it. If they're performing at Sadler's Wells, with its built-in camera positions, perhaps they'll at least record it for a DVD or something? It certainly sounds as though it would be worthwhile. 2 Link to comment Share on other sites More sharing options...
Quintus Posted October 3, 2016 Share Posted October 3, 2016 Who other than Stina and Begona have been dancing Myrtha and Bathilde? Given no advance casting details beyond the two leads, I'm keen to know what the possible permutations are! Link to comment Share on other sites More sharing options...
capybara Posted October 3, 2016 Share Posted October 3, 2016 Who other than Stina and Begona have been dancing Myrtha and Bathilde? Given no advance casting details beyond the two leads, I'm keen to know what the possible permutations are! Saturday's matinee featured Laurretta Summerscales as Myrtha and Isabelle Brouwers as Bathilde (in the Oliviera/Bufala cast). 1 Link to comment Share on other sites More sharing options...
Quintus Posted October 3, 2016 Share Posted October 3, 2016 Saturday's matinee featured Laurretta Summerscales as Myrtha and Isabelle Brouwers as Bathilde (in the Oliviera/Bufala cast). Thanks, that's the cast I'm going to see, so excellent. I saw Isabelle rehearsing and she was giving it, as a football manager might say, 110%.... Link to comment Share on other sites More sharing options...
Tatiana Posted October 4, 2016 Share Posted October 4, 2016 I'm so pleased this is being received well - I watched a lot of the rehearsal process and completely fell in love with it, especially the score. I do agree with some reviewers that the actual narrative falls flat in places, but honestly the dancing more than makes up for it. I can't wait to see the finished performance in November (I've got Madison!) Would have liked to see Stina as Mrytha on stage but I saw her perform beautifully in rehearsals many times so I can't complain. 1 Link to comment Share on other sites More sharing options...
alison Posted October 4, 2016 Share Posted October 4, 2016 thetrainline.com is tantalising me, dangling £9 singles to Southampton in front of me. Trouble is, I can't as yet find out for what trains they're valid! Link to comment Share on other sites More sharing options...
Don Q Fan Posted October 4, 2016 Share Posted October 4, 2016 I tweeted ENB and Tamara Rojo to request they record Giselle for a DVD or do a cinema relay - to my surprise Tamara replied saying they are trying to but it's very costly! 5 Link to comment Share on other sites More sharing options...
Tatiana Posted October 4, 2016 Share Posted October 4, 2016 The equipment and copyright issues (they don't own Sadler's Wells, obviously) do make recording extremely expensive for the ENB, whereas companies like the Royal Ballet who have their own theatre don't have the same problem. I think given that this production is creating such a buzz they'd be working harder to record it - I hope so, anyway! 3 Link to comment Share on other sites More sharing options...
alison Posted October 4, 2016 Share Posted October 4, 2016 Well, it is a Sadler's Wells coproduction: I don't know whether that makes any difference, but they've issued numerous DVDs in the past. 1 Link to comment Share on other sites More sharing options...
Tatiana Posted October 4, 2016 Share Posted October 4, 2016 That's just what I was told when talking to the orchestra director this summer Link to comment Share on other sites More sharing options...
alison Posted October 14, 2016 Share Posted October 14, 2016 thetrainline.com is tantalising me, dangling £9 singles to Southampton in front of me. Trouble is, I can't as yet find out for what trains they're valid! Just in case anyone is thinking of going down to Southampton for this, I note that SWT do have some sort of offer, of singles on their network for £14.95 (advance booking - i.e. the night before - and I think you have to specify a train?). I don't think that will benefit any railcard holders, as the railcard return fare from London is I think slightly cheaper, but it might conceivably be worthwhile if combined e.g. with a Megatrain ticket on the way out, so I thought I'd mention it, just in case. Link to comment Share on other sites More sharing options...
LinMM Posted October 14, 2016 Share Posted October 14, 2016 Alison can you check whether SW trains going to Southampton have any working on the line ....in the half term week...starting 24th October down here....as Southern do. There is some sort of bus service from either Fratton onwards or Swannick onwards to Southampton that week I'm sure trains from London will be affected too. Link to comment Share on other sites More sharing options...
LinMM Posted October 14, 2016 Share Posted October 14, 2016 I've just checked SW trains to Sourhampton and they seem to be going straight through to Southampton no probs!! I wish I 'd known as my ticket from Brighton via Fratton plus bus takes 3 hours!! If I'd travelled up to Clapham Junction ....about 50 mins from Brighton...the train from there to Southampton takes just under an hour and a half so two and a half max....but without the bus bit too. Grrrr ....if I'd known I would have travelled this way I hate bus connections because you can predict road journeys even less accurately than rail journeys!! Oh well you live and learn! (Hopefully) Link to comment Share on other sites More sharing options...
alison Posted October 14, 2016 Share Posted October 14, 2016 Can you not get a refund on the ticket and buy a new one, Lin, or is it restricted? Link to comment Share on other sites More sharing options...
Ja Sm Posted October 16, 2016 Share Posted October 16, 2016 Can't wait. Going to the matinee in Bristol on Saturday. Reading this thread is making me even more excited. 2 Link to comment Share on other sites More sharing options...
Sim Posted October 16, 2016 Share Posted October 16, 2016 Do please let us know what you think of it, Ja Sm! 1 Link to comment Share on other sites More sharing options...
alison Posted October 18, 2016 Share Posted October 18, 2016 Sadly, I fear I'm not going to be able to go down to Southampton for this. If it weren't bad enough that South West Trains isn't being kind on bargain fares, I checked the Mayflower website and it looks as though the balcony is closed for every performance, which means that there are effectively no cheap seats either, so it just becomes unaffordable OTOH, there are still seats available for the matinee in Bristol - and National Express are offering some ridiculously cheap fares online ... 2 Link to comment Share on other sites More sharing options...
simonbfisher Posted October 19, 2016 Share Posted October 19, 2016 Well, Janet McNulty (and others, but mostly you) thank you so much for persuading us that we should see this after all! Having had some iffy experiences with Mr Khan in the past, we were going to give it a miss, but we schlepped down to Bristol to see it tonight, and we were bowled over. So much to digest ... no time to unravel my thoughts in print here and now, but if anyone else is hesitating, GO! It looks beautiful, it sounds beautiful, it is intelligent, there is some cracking choreography, the dancers (Rojo, Streeter, Coralles, and Stina Q) including the corps were mesmerising, the set is great, the lighting fascinating - dark without being in the slightest raven-girly, thank heavens...... so many details to ponder on. BUT if you are driving to/ in Bristol leave plenty of time: the M32 was full of roadworks on the way in, and closed completely on the way out. It took forever to get out of the city at 10.00 pm. And around the City Centre was very clogged at 6.30 as well. 4 Link to comment Share on other sites More sharing options...
stucha Posted October 19, 2016 Share Posted October 19, 2016 Do Moyne and Zulme make an appearance? Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 19, 2016 Author Share Posted October 19, 2016 Do Moyne and Zulme make an appearance? No. Link to comment Share on other sites More sharing options...
nickb Posted October 19, 2016 Share Posted October 19, 2016 (edited) If you are interested in Sadlers Wells recording Giselle for a DVD, I suggest you tweet them. Edited October 19, 2016 by Ian Macmillan Your duplicate of this has been deleted Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 19, 2016 Share Posted October 19, 2016 (edited) Well, just back from Bristol and I have to confess to disappointment. Let me say straightaway that there is much to admire, not least the music, the stage set and the lighting. I went without any preconceptions and I love modern productions so it should have hit the spot for me, but... Okay, I put aside the fact that it was Giselle within the first couple of minutes, later discarding any idea that there was much of a narrative thread. But I found it repetitive, dreary and strangely unmoving. I am a fan of Akram Khan but is he really up to the challenge of re-creating a full-length ballet from a much loved classic? It seemed to me that what he does exceptionally well is choreograph group dances based on a throbbing beat which gradually move to an impressive crescendo. There is a lot of that in this Giselle and I enjoyed all of it - but the bits in between, what were they? The silences simply didn't work, the pas de deux seemed amateurish to me, and I got tired of all the low level neanderthal stuff which Christopher Dean first introduced for the Duchesnays in the early 80's.. And where do challenging ideas become a mish-mash of styles? I felt I lived through Hofesh Shechter meets Bollywood with a dash of River Dance, and much of the choreography was recognisable from the Opening Ceremony of the 2012 Olympics. Maybe I was expecting too much. The audience was pretty low key and I felt they weren't exactly blown-away, either. And then there was Alina, which was my main reason for going as she is my favourite dancer bar none. Well, she was, as ever, sublime, even in a hideous sweat-soaked dress with frizzy hair, she dazzled. But she had to put so much physicality into making it work that I just found myself asking, why? Is this really what this incredible dancer should be doing? It didn't seem to challenge her other than imposing a gruelling workload which, for me, achieved little. Okay, this is nothing to do with Akram Khan, but I was struck afresh by the loss of this great dancer from RB. I appreciate that many will say that she wanted a to do new works, but is this the best they can do? Is it really the best use of her wonderful talent? Okay, probably getting a bit carried away here (and the other ENB dancers were excellent), but I felt as if I was watching a thoroughbred at the local gymkhana. So, glad that the overwhelming majority of people seem to like it, plaudits to Tamara Rojo for pushing the boundaries, but an amazing new work? I think not. Edited October 19, 2016 by penelopesimpson 7 Link to comment Share on other sites More sharing options...
Sim Posted October 20, 2016 Share Posted October 20, 2016 Interesting to hear a different perspective, Penelope. I have to wait until November to see it so can't comment yet. 1 Link to comment Share on other sites More sharing options...
penelopesimpson Posted October 20, 2016 Share Posted October 20, 2016 (edited) Interesting to hear a different perspective, Penelope. I have to wait until November to see it so can't comment yet. Thanks for that, Sim. I think I am going to be in a minority as it has won good reviews. And yes, it is good, but I couldn't help thinking that it could and should be so much better. I think the loss of a coherent narrative handicaps the production and I am surprised that they couldn't see this. It isn't that I want Giselle to remain unchanged, rather that there was so much emotion on display last night that seemed to have nothing to be emotional about so the audience was left floundering. The handouts at the theatre were simply a cast list so unless you bought the official programme, you would really not know what was happening. Edited October 20, 2016 by penelopesimpson 5 Link to comment Share on other sites More sharing options...
capybara Posted October 20, 2016 Share Posted October 20, 2016 The handouts at the theatre were simply a cast list so unless you bought the official programme, you would really not know what was happening. There is a synopsis online, penelope. However, that actually doesn't help much. I agree that there is a problem but I think that Khan's choreography seeks to render small movements meaningful and convey a lot by intensity. But I may be wrong. http://giselle.ballet.org.uk/the-story Link to comment Share on other sites More sharing options...
VickyPage Posted October 20, 2016 Share Posted October 20, 2016 I was also there last night, Penelope, and although I wasn't quite as badly disappointed as you, I was not as wowed as I expected to be. It was good, but it wasn't quite the revelation I thought it might become. I originally talked myself out of buying tickets, because I had a busy autumn ahead of me and I wasn't sure I would enjoy a modern reworking of one of my all time favourite classical ballets. However, I read so many positive reviews, and a friend of mine (whose opinion on ballet I value) told me it was excellent, so I eventually snatched up one of the few remaining tickets for Bristol. I didn't buy a program until after the first act, which may have changed my opinion slightly, but in general, I think you should be able to follow a ballet without a synopsis. I had read reviews and the aforementioned online summary, but I still didn't think the storyline was clear on stage. The group dances, as Penelope said, were absolutely gorgeous, and I actually liked the score much more than I thought I would. However, I can't help but wonder if Khan was suffering from the same misconception as a lot of dancers and fans have about the classical ballet: that Act I is just a mechanism to get through to Act II. He certainly appeared to be fulfilling that idea in his realisation anyway. Alina's acting and movement was lovely; since the score was my favourite thing about Act I, it was of course crucial that she is such a musical dancer, but I confess I came out at interval feeling confused. It was good, but it was hardly a masterpiece yet. I did enjoy Act II infinitely more than Act I, which changed the evening from a disappointment to a pretty lovely experience with some interesting ideas, but not quite as shockingly brilliant as I was led to expect. Hernandez was gorgeous in his rebellious solo against the landlords and I absolutely loved the idea of Giselle's discomfort with her identity as a Wili, and how Myrtha had to teach her to stand en pointe. The brilliant use of the sticks was almost kendo-esque in the killing of Hilarion, and I hope Stina Quagebeur was wearing her comfiest shoes, because she spent absolutely ages en pointe during the pas de deux between Albrecht and Giselle. I absolutely loved Act II and some of the ideas it put forth, I just wish that the whole ballet had been that good. 8 Link to comment Share on other sites More sharing options...
Jan McNulty Posted October 20, 2016 Author Share Posted October 20, 2016 As I said earlier up the thread it took me 3 viewings to notice several moves that enhanced the story. I am fortunate that I was able to see it 3 times, most people don't have that luxury. 2 Link to comment Share on other sites More sharing options...
annamicro Posted October 20, 2016 Share Posted October 20, 2016 (edited) As I said earlier up the thread it took me 3 viewings to notice several moves that enhanced the story. I am fortunate that I was able to see it 3 times, most people don't have that luxury.You were also fortunate to see James Streeter as Albrecht: he enhances the story more than the 3 viewings, IMO.Streeter is my reason to fly to Southampton: I want to see Cojocaru dancing with him. Both Cojocaru and Rojo are wonderful, very different of course and even more interesting for this reason. The same can be said for Corrales and Chacon. Edited October 20, 2016 by annamicro 2 Link to comment Share on other sites More sharing options...
Petunia Posted October 20, 2016 Share Posted October 20, 2016 I'm so excited, I'll be there to see them next Wednesday. Please cross all available fingers for me, there are a flight and trains involved... ! 4 Link to comment Share on other sites More sharing options...
alison Posted October 20, 2016 Share Posted October 20, 2016 I'd just mention that, with single coach tickets from £5, and performance tickets from £12, Bristol is not necessarily a bad option for anyone in the London area who has missed out on tickets for Sadler's Wells. Certainly a darned sight cheaper than schlepping down to Southampton Link to comment Share on other sites More sharing options...
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