Akram Khan's Giselle- ENB in Manchester and Bristol Oct 2023

[Emeralds]

For members who have attended (and too shy to start their own thread 😀 ), or are about to attend. Do share your reviews, reactions and thoughts! Am considering travelling to see this - it weather/flooding and rail engineering works behave well....

Edited October 22, 2023 by Emeralds

[Tango Dancer]

Thanks to Emeralds I was just about to start a thread having attended this last night (Saturday evening) in Manchester.  I have many thoughts on this.  

 

On balance I enjoyed the evening because I was disposed to enjoy myself.  It was the second Akram Khan ballet I've seen and it was much better than Creature in my opinion.  I hated the mood lighting making it difficult to see peoples' expressions and what was going on.  I know it's atmospheric but I like to see the stage properly.  

 

I am much of the view that Akram Khan can't choreograph women very well and does terrible romantic pases de deux.  I would probably rename this piece "Albrecht - his man pain and the difficulties of being a rich landowner" as it spent more time on him than on the titular character who was pretty much a cipher throughout in my view (and I had the same view on Marie in Creature.  

 

The pas de deux seemed to involve a lot of "man drags woman around like a sack of spuds while she droops all over him" which is not my favourite style and I didn't pick up much romance between the two of them.   

 

That said I loved the group work and the corps was awesome.  The sections of them dancing as a whole were inspired and clever work.  The opening dance was terrific and really interesting (except for the bit where they former an x and rotated which reminded me inappropriately of "Springtime for Hitler"). 

 

The Wili were amazing like something out of a Japanese horror film (majorly reminding me of that creepy film Ring) and the parts with them brandishing their steel rods was really effective.  Myrthe was outstanding (Isabelle Browers) both ferocious and creepy and really amazing bourrees at length.  She was really something to watch and the best thing in the ballet in my opinion simply by force of personality. 

 

Aitor Arrieta was good as Albrecht, a strong and efficient dancer who I've enjoyed in the past. Fernanda Olivera was graceful and elegant as Giselle with lovely port de bras and gestures.  I didn't get a programme because they were pricy but whoever played Bathilde's father had incredible energy and force of personality and dominated the scene when he was on stage.  

 

So on the whole not my favourite version of this ballet but plenty that I did enjoy and a thoroughly fun evening.  Judging from the ovation and loud cheers a lot of people really enjoyed it.    

 

I'd definitely recommend it for a good night out if you want some fun and don't expect traditional Giselle story or costume.  

 

I shall comment on audience and ATG's willingness to allow people to bring their dinner into the audience on the audience thread. 

 

[Emeralds]

I agree, @Tango Dancer- the choreography for the corps is very strong in this version and I've always felt (while watching it during two previous seasons) that their dances were the highlights of the ballet! Akram Khan actually said in an interview that his starting point for the ballet was Hilarion- his original Hilarion was Cesar Corrales- and to me Hilarion gets all the best steps, which could be why Jeffrey Cirio relished dancing Hilarion on the first night in the 2019 run. I also find that while Myrtha doesn't get a lot of complex choreography the combination of her mime and stage action makes her role very powerful (even more so than in the traditional Perrot-Petipa version, although I love that role in the traditional version). If I  had to pick a role I'd like to dance in this production it would Myrtha, not Giselle. Could it have been Fabian Reimair portraying Bathilde's father? He did the role in all the performances I've seen.

 

I have to agree that there are no major romantic/reconciliation/forgiveness pas de deux for Giselle and Albrecht in this version. You sense that they are already an established couple (who then fall apart from his betrayal) from their dance acting rather than watching a relationship evolve in their dancing and their pas de deux. The choreography for Albrecht and Hilarion's confrontation/fight is actually the most memorable "pas de deux"! I do find it a powerful and enjoyable piece to watch and rewatch, although I generally think of it as "Akram Khan's Giselle" rather than bearing any resemblance to the Perrot-Coralli-Gautier-Adam original. Also, as it has a bit of a Halloween vibe in the very ghostly and intimidating Wilis in Act 2 and the extremely elaborate clothing of the wealthy landlords in Act 1.....very smart of Aaron S Watkin to programme it for late October. 😀 (Although that could have been coincidental rather than intentional, but still, smart move!)

 

I do wish they were bringing it to Sadler's Wells this season!

[Jan McNulty]

I'm afraid the weather defeated me on Friday.  So disappointed.

[alisonruss]

I attended two performances of the run at Manchester this week, on Thursday 19^th and Saturday 21^st, both in the evening. As I previously saw the production in 2016 with the first two casts (Cojocaru/Hernandez and Rojo/Streeter), I knew what to expect in the way of choreography, set and lighting design etc. I was interested to see if certain parts of the story seemed any clearer, without resorting to the synopsis. I still think that some parts are still too ‘subtle’, leaving the audience perplexed. Overhearing a few conversations in the intervals, it seemed a number of audience members felt strong emotions, although they were not always clear about what exactly was unfolding before them.

 

The performance on 21^st evening was led by Fernanda Oliveira and Aitor Arrieta, with Victor Prigent as Hilarion and Isabelle Brouwers as Myrtha. For me personally, this was the cast where I was most strongly aware of their balletic training in preparation for certain turns and jumps, and sometimes being more ‘centred’ whereas other casts I’ve seen previously seemed to take more risks with off-centre balances etc. The exception was Isabelle Brouwers, who was the ruthless, wild, scary, avenging character I remembered and whose interpretation easily reached to the back of the Circle.

 

The first night in Manchester was headed by Erina Takahashi and James Streeter, with Ken Saruhashi as Hilarion and Emma Hawes making her debut as Myrtha. I found Hawes to be a less dominant Myrtha, but I’m sure her interpretation will deepen with more performances. I believe Takahashi, Streeter and Saruhashi have been involved in Akram Khan’s creations for ENB and, for me, it shows in the depth and intensity of their interpretations. Saruhashi brought sharp precision and characterisation to the role of Hilarion. In the first act, Takahashi’s Giselle’s despair at Albrecht’s betrayal was powerful and almost painful to watch. Her stillness (and exceptional balance on pointe) at certain moments in the second act drew one’s eyes repeatedly back to her. Although he does not bring some of the technical fireworks of other interpreters, Streeter’s interpretation of Albrecht remains the definitive one for me. The final duet for Giselle/Albrecht as danced by them was extremely moving; one could feel the stillness and intensity of the audience’s attention as they followed it to its conclusion.

 

In both performances, the ensemble was fantastic, dancing with absolute commitment and passion. Fabian Remair (19^th) and Junor Souza (21^st) as the Landlord dominated their scenes. It was obvious that, for many of the audience, it was a highlight of the performance to hear the wonderful ENB Philharmonic under the baton of Gavin Sutherland. There were sustained ovations for the whole cast, and additional roars when the orchestra was acknowledged.

 

If, like me, you don’t wish to buy a programme, there is the possibility of using a QR code to get the full cast list of that particular performance. And, if like me, you have some difficulty with this or wish to download it separately, go to  ballet.org.uk/watch-read/ and scroll down to the Archive for Daily Performance Casting of Akram Khan’s Giselle.

[FionaM]

link for daily full cast sheet

 

https://www.ballet.org.uk/blog-detail/daily-performance-casting-akram-khans-giselle/

[FionaM]

@Tango Dancer I’ve always had the same view of the traditional Giselle … that it is about Albrecht and the pain and duty of being a rich landowner.   The traditional Albrecht is beholden to courtly duty when his true love turns out to be elsewhere.  (He doesn’t always realise it’s love until it is too late, although he does swear love to her very early on in Act 1).  For me the key to fully appreciating a traditional Giselle, is that it must have a believable journey for Albrecht … from having a bit of fun with a pretty villager, to falling in true love.  Very few male dancers are convincing to me. 
 

In Akram’s version, it is made clear that Giselle and Albrecht are already an established couple (she is pregnant) and the story then depends on Hilarion’s jealousy and controlling position amongst the outsiders.  The previous performances I’ve seen by Alina Cojocaru and Tamara Rojo were strong in expressing the complicated emotions of this role.  Yes I agree she is a manipulated by, and subservient to all the men … that’s the same in both versions and continues to be true for women in the world. Sigh.  However in both versions, her love saves Albrecht from Hilarion’s fate and these terrifying Wilis. 

[Tango Dancer]

I think I'd agree that very few male dancers convince as falling in love with Giselle.  Mostly Albrecht comes across as a typical upper class twit who has had all he wants all his life.  The problem I had with this version was that she didn't really come across as having personality.  While she is manipulated, some of the other versions at least give her agency and a sense of life.  The last one I saw was Cojacaru with United Ukrainian ballet and you could actually see her emoting and see her love, her hope for the future and then her despair at being betrayed.  I mean obviously it helped that they lit the stage well enough you could actually pick up some facial expressions.  I saw Nunez before that and it was the same sense of Giselle being vibrant.  

 

In this version she didn't come across as a person to me, just a peg on which Albrecht could hang his man pain and have a journey.  She was kind of a bit wet and lacking. I think not helped by the choreography.  None of this is a criticism of Olivera's dancing which is lovely.  She does the best she can, but the choreo just doesn't do it for me.  

[Ondine]

New on YouTube

 

Akram Khan's Giselle: The Character of Myrtha - Insight | English National Ballet

 

 

 

 

 

[Ondine]

Also

 

Akram Khan's Giselle: The Character of Giselle | English National Ballet

 

 

 

 

[Emeralds]

3 hours ago, Jan McNulty said:

I'm afraid the weather defeated me on Friday.  So disappointed.

Poor Janet! I know there have been lots of public transport cancellations and safety issues due to Storm Babet. Did they let you exchange your ticket to a Saturday performance or offer box office credit? 

[Jan McNulty]

1 hour ago, Emeralds said:

Poor Janet! I know there have been lots of public transport cancellations and safety issues due to Storm Babet. Did they let you exchange your ticket to a Saturday performance or offer box office credit? 

 

As it's an ATG theatre I hadn't booked as I was hoping to avoid the booking fees by booking in person at the box office on the day!

[Emeralds]

2 hours ago, Jan McNulty said:

 

As it's an ATG theatre I hadn't booked as I was hoping to avoid the booking fees by booking in person at the box office on the day!

Glad you didn't lose any money but commiserations about not being able to see the show! I had a similar problem with flooding just before one of Northern Ballet's performances at the Linbury Theatre last autumn- at the time I was happy to "donate" the £4 exchange fee as the ticket was quickly resold, but I  might start thinking like you since ROH management seems to be throwing money away wantonly this season.

Edited October 22, 2023 by Emeralds

[Mary]

Isn't this the Khan Giselle thread?

 

[capybara]

14 minutes ago, Mary said:

Isn't this the Khan Giselle thread?

 

Yes - there are several RB-related threads running this invasive topic.

Please would it be possible for the Mods to transfer all the posts from @PeterS’s question to @Emeralds onwards to an appropriate place of their choosing.

[Jan McNulty]

I've moved the posts to the RB 2024 thread.

 

Can we please try and keep threads that are not about the Royal Ballet on the topic they are about!

[alison]

I'd hoped to catch the matinee of this tomorrow, but I see all the lower-priced seats have now sold out (which is better than last time around!).  I presume the Bristol Hippodrome doesn't do standbys?  It's so difficult to tell these days, because it tends not to be a thing theatres mention online.

[FionaM]

Wow what a show!   It’s been a long time since I saw this live … with Alina Cojocaru in September 2019.  
 

It’s as visceral and heart breaking as it was then.  I think I forgot to breathe.  My group of friends were all astounded. 

 

All the performers were fabulous, I expected a really deep commitment from Fernanda Oliviera and got it. Victor Prigent as Hilarion had good edginess and very smooth moves, maybe not as ‘in your face’ as previous Hilarions have been.  Isabelle Brouwers was really great … completely different to Stina Quagebeur the only other Myrtha I’ve seen.  Bella was forceful and more human and showed the interaction with Giselle really well.  “What. You don’t want to kill him. why?” Aitor was the surprise of the night for me … I’ve not seen him this animated and engaged before.  Nor had I noticed the amount of virtuoso moves Albrecht has in this version.  It adds another dimension to the experience when a dancer can do both.  
 

The corps were superb … so energetic.  The speed of those. Ives across the stage always astounds me.  
 

Loved it.  Can’t wait for repeat viewing at today’s matinee … with the Suzuki, Dowden, Woolhouse, Wood cast. 
 

 

[alison]

Please let us know how it goes, Fiona.  As I said, I'd been hoping to go, but there's been a run on the remaining cheapest tickets in the last few days, and it appears they don't do standbys.

[FionaM]

I’ve been re-listening to the score multiple times on Spotify.  
 

 

[FionaM]

Thinking back to the matinee on Friday in Bristol:

 

Erik Woolhouse is extraordinary as Hilarion.  So menacing and ‘in your face’.  His Hilarion has no respect for personal space.  It’s a good thing he and Henry Dowden have known each other since RB school days.  
 

I was touched by the emotional duets of Henry and Emily Suzuki.   And loved the wildness of Angela Wood’s Myrtha.   She used her loose long hair to good effect.  
 

Really strong energy from the cast again and equally strong reaction from the near sold out audience of over 1,900.  All 5 performances had only a handful of upper level bench seats unsold.   Bravo ENB.  

Edited October 29, 2023 by FionaM