ENB: Akram Khan's Giselle, Autumn 2017

[capybara]

This opened last night with a stunning first performance. I loved it. More thoughts from me when I've seen other casts.

[Ian Macmillan]

Very unusually, the Daily Express is first in with an overnight review, and the reviewer was clearly impressed:

 

http://www.express.co.uk/entertainment/theatre/854790/Akram-Khan-Giselle-ballet-review-ENB-Sadlers-Wells-Liverpool-tickets-dates

 

And Luke Jennings seems likely to write in similar terms in next Sunday's Observer:

https://twitter.com/lukejennings1/status/910770962316038145

[capybara]

54 minutes ago, Ian Macmillan said:

And Luke Jennings seems likely to write in similar terms in next Sunday's Observer:

https://twitter.com/lukejennings1/status/910770962316038145

 

Luke Jennings refers to "latest revisions". Can anyone enlighten us?

[aileen]

Well, my enjoyment of last night's performance was slightly tempered by the ridiculous ticket situation. I would have preferred to have sat much further forward than my seat towards the back of the first circle. Unfortunately, there was some distortion of the music at points and the balance between the 'industrial overlay' and the orchestral playing was not always right: in particular, the former was too loud and drowned out the recognisable Adolphe Adams' music at the beginning of the second act. I didn't notice these problems during the last run. Perhaps it was something to do with the acoustics in this part of the auditorium.

 

Everyone was very good but I would really like to single out Stina Quaguebeur who is just perfect in the role of Myrtha. I really hope that she can be nominated for a Critics Circle award as she fully deserves recognition for her role in creating such a memorable character.

 

I was trying to work out whether there had been any changes. I seem to remember Hilarion making some sort of gesture to Albrecht early on which acknowledged the latter's more elevated status but I didn't notice this last night. Did Hilarion put his hat on Albrecht's head last time? 

 

 

 

[Sim]

In the Twitter trail Jennings says that it isn't darker, just that the story is told more clearly, which means that his initial three stars from last October would now go up to five, had he been there in an official capacity.   I absolutely loved this piece, but that was my only complaint, that the story isn't as clearly told as it is in the classical version.  I look forward to pretending tomorrow night that I have never seen Giselle before, and to seeing how much of the story I would now get as a newbie!  

[LinMM]

Agree about Stina Aileen she's wonderful.

i was lucky enough to see her in rehearsal and show last year but although not going this time am glad it's getting more exposure.

i just think of it as an "alternative" Giselle so as not to compare to the original too much.

Hope to see it again when next comes into Rep

Edited September 21, 2017 by LinMM

[RobR]

I went last night not knowing quite what to expect. It was, in most ways, a different 'Giselle' but identifiable nonelthess. I thought it a stunning performance and I was very much impressed by all the dancers. TR still has it in trumps but the dancers were all on top form. Well done to all!

[Vanartus]

I was stunned by the production. Really like act one, loved act two. Amazing.

[J_New]

What's the running time, please? I need to know for trains tomorrow. Thanks!

Jacky

[aileen]

It's supposed to be two hours including the interval but it overran last night by quite a bit, which is not an usual occurrence at Sadler's Wells in my experience.

[bridiem]

Yes, I think it was nearer 9.45pm when I got out (but that's partly because I was mesmerised by seeing Akram Khan in the foyer!).

[alison]

3 hours ago, J_New said:

What's the running time, please? I need to know for trains tomorrow. Thanks!

Jacky

 

It came in at more or less 2 hours tonight.

 

Oh, and for those who like me weren't aware, be aware that the buses are on diversion southbound ...

https://tfl.gov.uk/status-updates/major-works-and-events/upper-street-works?cid=upper-street-works

 

I do think that for something this major Sadler's Wells should have something on the website - and possibly even send out email notifications.  If they did, I didn't notice it.

 

In fact ...

[J_New]

Thanks, everyone - I'm really looking forward to it tonight.

[Sim]

Hope to see you there, Jackie!

[Lynette H]

Nice to see Junor Souza back on stage on Thursday afternoon after a long absence, even if the Landlord is not a dancing role. 

 

Sarah Kundi in truly commanding form as Myrtha. 

[Beryl H]

I was so pleased to see a mostly different cast last night after seeing the first one last year, Erina Takahashi gave a beautiful debut, nice to see her in a dramatic role, likewise Isaac Hernandez who I also only usually see in classical roles, and a new dancer to me Oscar Chacon, who was as exciting as Cesar Corrales in the role of Hilarion, I appreciated the ballet far more this time although I much prefer the first act, the second act doesn't have quite the same intensity.

 

Luckily I had spotted the southbound bus situation on the TFL website otherwise I would have panicked last night!

 

Everyone stood to applaud in the second circle at the end, or at least all those I could see did, never seen that before at SW!

[alison]

Oh, I don't know - it seems to happen relatively frequently

[capybara]

2 hours ago, Beryl H said:

Everyone stood to applaud in the second circle at the end, or at least all those I could see did, never seen that before at SW!

 

And a lot of clapping standers in the Stalls on Wednesday night too 

[bridiem]

1 hour ago, capybara said:

 

And a lot of clapping standers in the Stalls on Wednesday night too 

 

And also in the second circle! It seemed to go down a treat.

[Sim]

And tonight in the second circle....and totally deserved, too.  A truly wonderful performance, and it made me a lot more emotional than the first time around.  I will post more thoughts soon, but what a treat it was to see this amazing production again.

[J_New]

It was stunning! My first viewing, and I was completely blown away. It will stay with me for a very long time.

[alison]

On 21/09/2017 at 23:28, alison said:

Oh, and for those who like me weren't aware, be aware that the buses are on diversion southbound ...

https://tfl.gov.uk/status-updates/major-works-and-events/upper-street-works?cid=upper-street-works

 

I do think that for something this major Sadler's Wells should have something on the website - and possibly even send out email notifications.  If they did, I didn't notice it.

 

 

It seems I owe SW an apology.  Microsoft, in its infinite wisdom , has recently tweaked/tampered with Outlook.com and has come up with a sort of dual inbox: one for messages which it deems very important, and another for ones which it thinks are less so - and it's taken me some considerable time to realise this.  Guess where the email from SW ended up?

[zxDaveM]

I was at the rehearsal before opening night, so here are some photos:

Tamara Rojo, Cesar Corrales, Begona Cao
© Dave Morgan. Courtesy of DanceTabs / Flickr

Artists of the company
© Dave Morgan. Courtesy of DanceTabs / Flickr

Stina Quagebeur, Tamara Rojo, James Streeter
© Dave Morgan. Courtesy of DanceTabs / Flickr

See more...

Set from DanceTabs: ENB - Giselle (Akram Khan)
Courtesy of DanceTabs / Flickr

 

[Quintus]

Great shots Dave, must be hard to expose for some scenes in this production as the lighting was very high contrast.  

 

These also reminded me that it was great to see Begoña back on stage.. 

[annamk]

Phenomenal, mesmerising performances this afternoon.

Poor Fernando Bufala limped off injured less than 10 minutes in and the performance was restarted 10 minutes later with Altor Arrrieta stepping in to dance with Fernando Oliveira. So good were they that you would never have guessed they weren't scheduled to dance together.

Jeffrey Cirio (Hilarion) & Sarah Kundi (Myrtha) were terrific. 

The was my 2nd viewing this run and it feels slightly different to the first run but I can't say specifically what, if anything, might have changed. 

Anyway, I think it's a triumph of a production & a fantastic showcase for the company which plays to its strengths. 

[Lynette H]

This afternoon's performance was halted by an injury after 10 minutes.  After a short break, it restarted with Aitor Arrieta in place of Fernando Bufala as Albrecht. 

 

Edited to add: I was posting at just the same time as annamk. I should also say that there were some big hugs and very relieved smiles from the leads at the curtain calls. 

 

 

Edited September 23, 2017 by Lynette H

[zxDaveM]

It was a terrific performance in what couldn't have been easy circumstances - so a definite 'hats off' to the leads. Agree about Sarah Kundi, a dancer I've always liked since her days with Ballet Black, and she really stepped up into a striking role, strikingly danced.

Leaves me wishing I could have seen more shows this run!

[zxDaveM]

2 hours ago, Quintus said:

Great shots Dave, must be hard to expose for some scenes in this production as the lighting was very high contrast.  

 

These also reminded me that it was great to see Begoña back on stage.. 

 

Thanks Quintus - it wasn't easy that's for sure. But at least it wasn't just dark gloom only, so we photographers can at least get something.

And definitely agree about Begoña - she's one of my faves!

[Pointetoes]

3 hours ago, annamk said:

Phenomenal, mesmerising performances this afternoon.

Poor Fernando Bufala limped off injured less than 10 minutes in and the performance was restarted 10 minutes later with Altor Arrrieta stepping in to dance with Fernando Oliveira. So good were they that you would never have guessed they weren't scheduled to dance together.

Jeffrey Cirio (Hilarion) & Sarah Kundi (Myrtha) were terrific. 

The was my 2nd viewing this run and it feels slightly different to the first run but I can't say specifically what, if anything, might have changed. 

Anyway, I think it's a triumph of a production & a fantastic showcase for the company which plays to its strengths. 

Couldn't agree more. 

[JohnS]

First opportunity to see this production - a mesmerising tour de force.  Very unfortunate for Fernando Bufala and I do hope he quickly recovers.  In the first few minutes of the performance, I was struggling to distinguish between Albrecht and Hilarion and I do wonder if the roles could be more clearly differentiated.  I wondered also about the prolonged death of Hilarion and its brutality, a cat toying endlessly with a mouse before finally dispatching it, but in this world the brutality Akram Khan captures is played out time and time again.  And what a wonderful contrast with the Giselle/Albrecht pas de deux - utterly captivating, and truly uplifting, with love, remorse and forgiveness triumphing.  If only we could all find the Giselle within us.  And incredible to think the two dancers may not have partnered before - does any one know?  A final word to say how much I enjoyed the score and the contrasts between the pulsating industrial rhythms and the reworking of sections of Adam.  Thank you Akram Khan and all at ENB.  

 

I look forward very much to seeing the RB’s Giselle with a new perspective and on the train home thought that the Akram Khan production will make the traditional production even more poignant.

[capybara]

In the best possible way, I’m exhausted by the wonder that is Khan’s Giselle. I was very fortunate in being able to see all 4 casts (from various parts of the theatre) and each experience was special.

Tamara Rojo, Fernanda Oliviera, Crystal Costa and Erina Takahashi gave very different interpretations of Giselle from (in that order) the most gutsy to the more vulnerable. Takahashi, making her debut this week, was very emotionally affecting and very clear in her story-telling. Last year, the role of Albrecht felt somehow under-developed but, now, the character seems better drawn in every portrayal. James Streeter, Fernando Bufala (who was unfortunately injured after about 10 minutes), Aitor Arrietta and Isaac Hernandez registered in a way which didn’t happen for me in earlier runs. The dancing from Hernandez, in particular, was both beautiful and riven with an emotional depth I hadn’t seen from him before.

The Myrthas were shared by Stina Quagebeur (a quivering, glamorous, evil presence) and Sarah Kundi (making her debut and extremely, powerfully effective). And, as for the Hilarions: what can I say? What a role and what astounding performances from Cesar Corrales, Ken Saruhashi and guests Oscar Chacon and Jeffrey Cirio. It almost goes without saying that the stage presence of Corrales edged it but the impact of all was huge and their menace could be felt wherever one was sitting.

Then there were the Landlord party and the Corps. There are amazing sequences in Act 1 where the migrants move  across the stage in silhouette and at great speed, none more effectively than Erik Woolhouse who made such an impact in the Sacre corps earlier this year. He is surely a Hilarion in waiting? The female Corps, of course, not only exerts all that energy in Act 1 but doubles up as Wilis with huge emotional, venomous commitment in Act 2. Here, in the midst of the menace, one’s eye is drawn to Francesca Velicu (a memorable Chosen One in Sacre). A Giselle in waiting, perhaps?

Lastly, who could forget the contribution of the ENB Philharmonic, whose playing is integrated with recorded music and sounds to deliver the haunting score.

A big BRAVO and THANK YOU  to all but especially, perhaps, to rehearsal director Mavin Khoo who has, if anything, delivered an even better production and even better portrayals this time around. WOW just WOW!

 

 

Edited September 24, 2017 by capybara

[Vanartus]

I'm slowly putting together my personal list of favourite full evening/length new creations for classically based companies which are defining the decade...

 

So far - not in order of merit are: 

 

Khan's Giselle 

MacGregor's Woolf Works

Ratmansky's Shostakovich Trilogy

Wheeldon's Winter's Tale

 

...I'm tempted to add Pite's full length work I saw at Sadler Wells although the company is in a different category.

 

I've yet to see DNB's Mata Hari, or RDB Liaisons Dangereuses, or indeed Marston's Wuthering Heights for NB, all of which I feel would make my list. 

 

But Khan's Giselle manages to be both heart-lifting and heart-rending. Very much this decade...

 

[aileen]

I saw all the casts except the Oliveira/Bufala one. Last night I took a friend who has not seen much ballet and she was bowled over. It was interesting to hear her insights. One thing that she wasn't keen on was dancers grabbing other dancers faces. I explained to her that, for Akram Khan, touching another person's face was a sign of intimacy but I felt that last night the touching was a bit too 'grabby' for my liking, whereas it had seemed more tender and caressing with the other two casts. She was mesmerised by Oscar Chacon and I was too. He was on absolutely spectacular form last night. As my friend said, you couldn't take your eyes off him. He was positively feline at times and at other times he scuttled about like an insect or a rodent. It seems that Hilarion has some freedom with the role and last night he introduced a number of little touches which really fleshed out the character and his role in the proceedings. Erina Takahashi was a more fragile and soulful Giselle. Unfortunately, she didn't get as much response from her Albrecht as I would have liked. Isaac Hernandez is not the strongest actor but last night he seemed rather ill at ease, although his dancing was excellent. Normally he and Takahashi have a good on-stage rapport but last night he seemed rather out of it. 

 

Crystal Costa gave a magnificent performance as a feisty Giselle in her debut on Friday afternoon. I found the last scene particularly affecting. Sarah Kundi was a commanding Myrtha. Ken Sarahusi was very good but couldn't quite match Cesar Corrales or Oscar Chacon's incredible onstage presence.

 

In this run I have picked up on a number of things which I did not notice in the last one. First, I think that Giselle is an activist or a kind of shop steward or at least a spokesperson for her community and that she is killed because she is a troublemaker as well as because of her invonvenient relationship with Albrecht. I noticed far more references in the score to the sounds of a factory and looms moving backwards and forwards. Similarly, I realised how much some of the movement of the corps referred to the repetitive movement of a loom being operated. My friend thought that the water / sea sounds could refer to the water used to power the old water mills. Perhaps everyone else had picked up on all these things but they really became apparent to me this time round.