English National Ballet: Mary Skeaping's Giselle, London Coliseum 2017

[aileen]

I can't do links but you should find the photographs if you type Instagram #englishnationalballet or #englishnationalballet on Instagram. There are all sorts of photographs there, not necessarily in date order, but if you scroll down a bit you should find them.

[Jan McNulty]

Scroll down the page:

 

https://www.instagram.com/explore/tags/englishnationalballet/

 

 

To post a link - copy the website address of the page that you want to post.  On your post, right click where you want to place the website address and choose the past option.  Easy peasy lemon squeezy!

[capybara]

Scroll down the page:

 

https://www.instagram.com/explore/tags/englishnationalballet/

 

 

To post a link - copy the website address of the page that you want to post.  On your post, right click where you want to place the website address and choose the past option.  Easy peasy lemon squeezy!

 

Thank you, Janet. This is a completely different collection from the one which comes up via google or when one doesn't include the word 'explore'.

 

It demonstrates the value of people including a link within posts which is, as you say, easy peasy. But thank you for the 'alert' Aileen.

[CHazell2]

Hi, I was just wondering how much the programmes are at the Coliseum as I will be going to the evening performance.

[bridiem]

Hi, I was just wondering how much the programmes are at the Coliseum as I will be going to the evening performance.

 

They're £6... But lots of lovely photos and good articles.

[CHazell2]

Thanks. I just hope that my ankle will last the day.

[Pulcinella]

Thank you for the link Janet. As I had to leave before the curtain calls it's good to have some photos. I really enjoyed the performances of Lauretta Summerscales, Xander Parish and Michaela dePrince and found then all so believable in their characters and the dancing superb. Having read Michaela dePrince's autobiography it is so interesting to see what a superb dancer she has become.

[aileen]

Perhaps this is a stupid question but is it standard practice for the coaches to be present at all the performances viz the photographs of the leads with Irek Mukhamedov and Loipa Arajuo? I particularly like the photograph of the latter with Michaela de Prince after last night's performance; MdP looks so happy.

[Jan McNulty]

There have been ballet staff at every performance of every company I have ever attended since I have been able to recognise them (and presumably forever!).

[Quintus]

Irmgard's excellent article on the other thread about Mary Skeaping's restoration inspired me to track down the Heinrich Heine text that was originally drawn upon as the basis for the Wilis.  He wrote two paragraphs in 'De l'Allemagne'.  I found it quite interesting so I thought I'd share it.   My translation below (and the original, from an internet archive scan of the 1855 book, below that)

 

In part of Austria there is a tradition that has much in common with this, although of Slav origin; namely the tradition of the female nocturnal dancer known in Slav countries by the name of Wili.  Wilis are betrothed girls who died before their wedding day. The poor young creatures cannot stay peacefully in their tombs.  In their stilled hearts, in their dead feet remains that love of dance which they were not able to satisfy during their lives, and at midnight they arise, gather in troupes on the highway and ill fortune awaits the young man who meets them!  He must dance with them, they embrace him with unbridled lust and he dances with them until he drops dead.  Attired in their wedding gowns, with garlands of flowers on their heads and sparkling rings on their fingers, the Wilis dance in the moonlight like elves. Their faces, albeit white as snow, have the beauty of youth; they laugh with such terrible joy, they call you with such seductiveness, their air holds such soft promises.  These Bacchants are irresistible.

 

The people, seeing engaged girls dying in full youth, could not bring themselves to believe that such radiance and beauty must fall without prospect of return into obliteration, and from there was born the belief that the fiancée continued to seek after her death the pleasures of which she had been deprived.

 

_____________________

 

II existe dans une partie de l’Autriche une tradition qui a beaucoup de rapport avec celle-ci, quoiqu'elle soit d'origine slave : c'est la tradition de la danseuse nocturne, qui est connue, dans les pays slaves, sous le nom de Wili. Les wilis sont des fiancées qui sont mortes avant le jour des noces. Les pauvres jeunes créatures ne peuvent demeurer tranquilles dans leur tombeau. Dans leurs cœurs éteints, dans leurs pieds morts est resté cet amour de la danse qu'elles n'ont pu satisfaire durant leur vie, et, à minuit, elles se lèvent , se rassemblent en troupes sur la grande route, et malheur au jeune  homme qui les rencontre ! Il faut qu'il danse avec elles; elles l'enlacent avec un désir effréné, et il danse avec elles jusqu'à ce qu'il tombe mort. Parées de leurs habits de noces, des couronnes de fleurs 'sur la tête, des anneaux étincelants à leurs doigts , les wilis dansent au clair de lune comme les elfes. Leur figure, quoique d'un blanc de neige, est belle de jeunesse; elles rient avec une joie si effroyable, elles vous appellent avec tant de séduction; leur air a de si douces promesses. Ces bacchantes mortes sont irrésistibles.

 

Le peuple, en voyant mourir des fiancées pleines de  jeunesse, ne pouvait se persuader que tant d'éclat et de beauté dussent tomber sans retour dans l’anéantissement, et de là naquit la croyance que la fiancée  recherche encore après sa mort les joies dont elle a été privée.

Edited January 14, 2017 by Quintus

[Scheherezade]

The Wilis' dresses are a beautiful combination of white and green, darkening towards the hems to give them a 'damp' feel which indicates that they have risen out of the damp earth and are therefore Wilis/vampires rather than sprites or sylphs.  You will notice that Giselle's dress is slightly whiter than the others to indicate that this is the first time (and last!) that she has risen from her grave.  A beautifully thought out concept by David Walker in collaboration with Mary Skeaping and based on the original description by Heinrich Heine.

 

 

The only negative was the dearth of curtain calls (again). What is it with ENB and curtain calls?! They’re an essential part of the (I hope) mutual catharsis of a great performance, and it’s really not right to cut them short in this way.

 

Thank you again, Irmgard, for adding clarity to what felt so right about the costumes which, along with the lighting and, for that matter, the rest of the production, I absolutely loved. I was there on Wednesday and can only echo everything that has already been said about Alina Cojocaru and Laurretta Summerscales, both of whom were, in their very different ways, utterly breathtaking. For myself, I found Hernandez a little bland, much as I did in the equally stunning Akram Khan production, and am looking forward to seeing what Corrales can bring to Albrecht in the closing performance.

 

Bridiem, I do so agree with your comments about the cathartic effect of a curtain call which allows the audience to express its appreciation. When curtain calls are not allowed to run their natural course, it almost feels as though the performance has summarily been cut short.

[penelopesimpson]

Can anyone be very kind and tell me exactly what time it ends?  I am trying to work out trains and its the usual nightmare!

[bridiem]

Can anyone be very kind and tell me exactly what time it ends?  I am trying to work out trains and its the usual nightmare!

 

It ends at 9.45pm (assuming evening performance).

[alison]

 

He wrote two paragraphs in 'De l'Allemagne'.  I found it quite interesting so I thought I'd share it.

 

This is presumably the text quoted - in translation - in the Royal Ballet programmes.

[Blossom]

Back to curtain calls, looks like the Willis danced most of the male cast to death

[Quintus]

This is presumably the text quoted - in translation - in the Royal Ballet programmes.

 

 

Afraid I don't have one - that would have saved me 15 minutes...

[Irmgard]

This is presumably the text quoted - in translation - in the Royal Ballet programmes.

It used to be quoted in LFB/ENB programmes as well (in English).

[penelopesimpson]

It ends at 9.45pm (assuming evening performance).

Big thanks.  Will have to sprint for Waterloo!

[zxDaveM]

Big thanks.  Will have to sprint for Waterloo!

 

you could catch a train from Charing X to Waterloo East (use the nearest 1 or 2 carriages from the barrier) which may save a bit of time and certainly a lot of legwork. No cost in the transfer

[alison]

Out of interest, as it's a while since I've had to do it, but what *is* the quickest way to Waterloo Mainline from the ROH?  Is it over Waterloo Bridge, or down through Charing Cross and over Hungerford Bridge (which probably involves more steps, I'd guess)?  Obviously there might be a chance of hopping on a 139 or 176 bus for a couple of stops if you do the former.

 

Sorry, I realise we're getting rather off-track here ...

[aileen]

I saw the Cojacaru/Hernandez/dePrince cast last night. I thought that Cojacaru was outstanding as Giselle. She never came out of character for a moment and what struck me last night, possibly because I was sitting quite close to in the stalls, was what beautiful shapes she makes in the air. She was utterly convincing as a teenage girl. My interpretation of her Giselle is that she sensed / knew that she might not live long because of her weak heart and was determined to seize whatever happiness was available to her despite the risks. I felt that Hernandez took a little time to warm up; his entrance in particular seemed rather uncertain. I thought that the supporting characters in the form of Hilarion (Bufala), Bathilde (Quagebeur) and Berthe (Hayworth) were excellent. I liked the expanded roles for the first two and the fact that Bathilde was a more sympathetic character rather than the cold aristocrat as she is usually portrayed. I was a little disappointed with the peasant pdd. Corrales is a wonderful dancer with a vivid stage presence but sometimes his exuberance can be a bit OTT and in this type of more classical dancing he needs to reign himself in a little and be a bit more refined; last night he was pushing a bit too hard IMO.

 

This production really comes into its own in the second act with beautiful costumes and lighting. Last night the pdds for Giselle and Albrecht were exceptionally affecting; you couldn't hear a pin drop in the auditorium. Michaela dePrince was a fairly strong presence as Myrthe but I felt that she was a bit short for the role. She has the most terrific jump: tremendous elevation for such a small dancer coupled with soft landings.

 

The only criticism which I would make of this production is the lack of drama in the 'Albrecht dancing to his death' scene which I felt lacked some drama. The famous entrechats are absent.

 

Many thanks to Irmgard for her article on this production. It alerted me to various aspects of the production which I might otherwise have missed.

 

Looking forward to seeing the production again next week.

[Saodan]

Out of interest, as it's a while since I've had to do it, but what *is* the quickest way to Waterloo Mainline from the ROH?  Is it over Waterloo Bridge, or down through Charing Cross and over Hungerford Bridge (which probably involves more steps, I'd guess)?  Obviously there might be a chance of hopping on a 139 or 176 bus for a couple of stops if you do the former.

 

Sorry, I realise we're getting rather off-track here ...

 

 

It rarely takes me more than 10 minutes to walk from the ROH to Waterloo Station across Waterloo Bridge. It's basically a strait line down Wellington Street and across the bridge.

[MAB]

The famous entrechats are absent.

 

 

I'd call them infamous rather than famous, they are a relatively modern interpolation and my heart sinks every time I see them. 

[Irmgard]

I'd call them infamous rather than famous, they are a relatively modern interpolation and my heart sinks every time I see them. 

So glad to hear you say that!  To Mary they were an abomination (Nureyev introduced them into the ballet in the UK around 1962) and served no dramatic purpose and certainly are out of character with the Romantic style of her production (as would be Giselle suddenly breaking into 32 fouettes!).  As I learned from my work with Mary, there are many more interesting steps that male dancers were capable of in the Romantic era before male dancers themselves fell out of fashion in France (not in Russia, though).  Nureyev had great respect for Mary and thus never did the series of entrechats sixes in the many performances he gave of her production.  I mention this in an interview Deborah Weiss did with me in the January issue of Dance Europe.

[penelopesimpson]

Out of interest, as it's a while since I've had to do it, but what *is* the quickest way to Waterloo Mainline from the ROH?  Is it over Waterloo Bridge, or down through Charing Cross and over Hungerford Bridge (which probably involves more steps, I'd guess)?  Obviously there might be a chance of hopping on a 139 or 176 bus for a couple of stops if you do the former.

 

Sorry, I realise we're getting rather off-track here ...

I walk it every time and provided its not windy, its pretty spectacular.  Don't know which is quickest - I do the bridge and then the underpass and that bit is horrid

[LinMM]

Deborah Weiss.....I'm sure she was a young dancer with Festival Ballet and a lovely one at that and then disappointingly just disappeared off the scene

 

Do you know if she just stopped dancing or went abroad ....I thought she had such promise.

[Irmgard]

Deborah Weiss.....I'm sure she was a young dancer with Festival Ballet and a lovely one at that and then disappointingly just disappeared off the scene

 

Do you know if she just stopped dancing or went abroad ....I thought she had such promise.

Yes, she joined Festival Ballet in 1979 and was a fabulous Myrtha plus also danced the lead in "La Sylphide".  She left to join a company in Europe but I can't remember which one.

[alison]

It rarely takes me more than 10 minutes to walk from the ROH to Waterloo Station across Waterloo Bridge. It's basically a strait line down Wellington Street and across the bridge.

 

Really?  I used to have to do it for work sometimes, and I'm sure it took me more like 15-20, coming out from the "corner" main entrance at Waterloo.

[capybara]

I'd like to post something more substantive later but, for the moment, I need to record my delight at the very affecting performance yesterday afternoon from the ENB 'home team' of Alison McWhinney (Giselle), Yonah Acosta (Albrecht), Isabelle Brouwers (Myrtha) and Daniel Kraus (Hilarion). The power of the Wilis was especially palpable.

[Bruce Wall]

I'm surprised no one seems (unless I missed it) to record an entry about the Saturday matinee.  I so enjoyed it - and key to that delight was Parish who, so very good the night before, came into his historic own as a truly GREAT Albrecht.  He was every inch the vulnerable aristocrat and carved a magnificently loving adoration for and with his Giselle.  

 

Parish's dancing was exemplary throughout.  Never did he push for effect.  Indeed, in that first solo in the second act - which is so difficult in the embroidery of refined stealth Skeaping demands - he sizzled my own amazement with the elongated virtue of his ever glorious legato line.  There is no question but that this young man supplanted - at least to my eye - the other two interpreters of the role I had seen earlier in the week.  How I wish that that the oh, so stunning Dronina might have had a partner of equal merit.  

 

Rojo brought the wonders of her own maturity to bear via the stunning detail of her delivery of the title role.  I loved the remembered taste of Bathilde's fabric made visceral and then toxic in the mad scene - and the fact that this Giselle didn't turn to look at Albrecht when she initially backed into him.  No.  It was quite clear that this miss was more than aware of her own conquest and was determined to delight in it.  One felt certain that this Giselle had been staring out of those cottage windows for quite some time - and was very much seeking the same twist of adventure that her Albrecht did.  I so adored the fact that she would hold that turn even longer - allowing him to touch her hand - (which she rapidly withdrew with a knowing smile that bleated: 'YES!') - before twisting round the potency of her catching gaze.  This made the refrain of Skeaping's final sequence sting all the more.  Parish's sad but ever widening smile stepping forward towards the curtain's fall with her remaining bud in hand became ever more fantastically cathartic.   

 

A word too for the exemplary portrayal of Hilarion by James Streeter.  What a fine theatrical artist he is.  His wounds were ours. They were man's.  You can say no better than that. Bravo ... and thanks.

Edited January 16, 2017 by Bruce Wall

[penelopesimpson]

Really?  I used to have to do it for work sometimes, and I'm sure it took me more like 15-20, coming out from the "corner" main entrance at Waterloo.

Yes, me too.  Ten minutes would be a run!

[nevsky]

Yesterday's performance of Giselle turned out to be something special.  Established ENB dancers took all the roles.

 

Alison McWhinney was a tender, loving and trusting Giselle. Once she overcame her shyness, she delighted in Albrecht's attentions. Her soft arms added to her inherent fragility and, when she realised she had been deceived, she seemed to carry her sense of disbelief in her madness. In Act 2, her long neck and beautiful carriage made her truly ethereal.

 

As Albrecht, Yonah Acosta produced a stunning performance, his acting achieving heights I hadn’t seen from him before. Despite his trying to be a peasant you knew from the beginning that aristocracy was in Albrecht’s blood. Acosta’s manner and bearing betrayed that upbringing. However, this was no cad. This Albrecht was head over heels in love with Giselle. Acosta is a strong looking man but he achieved remarkable tenderness and a softness of touch that revealed his character’s true feelings for this girl. When unmasked, his contrition seemed to be token because he knew where his love truly belonged. He was totally overcome when Giselle died and his bereavement was channelled into powerful anger at Hilarion whom he saw as the cause.

 

Isabelle Brouwers was a commanding Myrtha with huge elevation to her jumps. She controlled the second act absolutely and her Wilis were excellent, with soft arms as Skeaping would have wished, and always together. Against their woodland setting, they were disturbingly eerie. No wonder the men who strayed into their territory were scared out of their minds.

 

Hilarion, Daniel Kraus, was ardent too. His anger at being duped by a Duke was palpable. We could feel his torment at the grave through the darkness. [but why do all of ENB’s Hilarions come to the stage so beautifully coiffured?]

 

Some contributors here have praised individual dancers but have commented on a missing chemistry. Not this Giselle and Albrecht. We felt their pleasure, their ecstasy and their pain. Never have flowers been laid on the grave with such tenderness, grief and remorse. Throughout, Acosta bared his soul in his dancing, which ranged from very powerful to gentle and loving. In return McWhinney was protective and forgiving, making it clear to the audience that Albrecht needed to stay by the grave to be safe, and letting him be free as the sun rose.

 

 

Readers may think that I am simply relating the well known story but these dancers told this story in spades, and in so doing gave their all.  They made you believe.

 

Congratulations to the home team for showing us what a quality performance looks like.

 

[Pas de Quatre]

Lovely photo in today's Telegraph of four Willis in flight - grand jetes.