ENB Mary Skeaping Giselle January 2024

[JNC]

@Fonty agree - I find the best Albrecht’s are the ones who are a bit of a “playboy” in Act 1 but genuinely remorseful in Act 2.

 

Re Hilarion I agree with @bridiem, whilst I do feel some sympathy (unrequited love is tough) but it seems he’s mainly motivated by jealousy and wanting to control Giselle and force her to marry him by exposing Albrecht. I suppose women didn’t have much agency during that time period so maybe it’s unfair to view with a modern lens but he’s always struck me as a little creepy/possessive and doesn’t care about Giselle’s true happiness. Also the whole sucking up to Giselle mother just feels furthers this and feels manipulative also. Sure it would have all come out at some point but the public shaming of Giselle that Hilarion sets up is just cruel. Therefore I don’t have that much sympathy for him overall and don’t mind the Willi seeing him off (also because it makes for great dramatic tension and dancing!). 
 

It does feel unfair Albrecht gets to live on but he could be always unhappy and maybe he’ll go on to do some good things for the peasants out of his love for Giselle. Also Giselle wanted to save him despite his lying to her (maybe his remorse convinced him, or she just loved him anyway). 
 

Act 2 is certainly my favourite of the 2 but I like how different yet complimentary they are. 

Edited January 15 by JNC

[Dawnstar]

20 hours ago, Irmgard said:

Never fear, the gamekeepers are not killed but are just used for sport by the Wilis!

 

I'm glad to hear they do actually survive. The village would already be having a bad time of it with Giselle dropping dead then Hilarion found drowned a short time later without having half a dozen of their other men found dead in mysterious circumstances too!

 

 

19 hours ago, Irmgard said:

Of course, it is up to the individual as to whether they portray Albrecht as totally smitten with Giselle or as a pleasure-seeking cad, but I know which one Skeaping preferred! 

 

I'm now feeling very embarassed by my post yesterday as it seems I have totally misinterpreted the aimed-at characterisation.

Edited January 15 by Jan McNulty
Edited at request of OP

[Dawnstar]

Going through the reviews in the last couple of days of Links & I am completely baffled by this section in the Seeing Dance review:

 

Quote

Albrecht visits her grave late at night, and falling asleep, dreams that he has to dance all night till he dies of exhaustion (a more realistic narrative than some). Giselle dances with him, keeping him going until dawn, when the spell is broken. Albrecht wakes to a broken heart, and Giselle can sleep peacefully in her grave ever after.

 

Is Act II meant to be mostly Albrecht's dream? Because if so then this the first I've known of it!

[Irmgard]

16 minutes ago, Dawnstar said:

Going through the reviews in the last couple of days of Links & I am completely baffled by this section in the Seeing Dance review:

 

 

Is Act II meant to be mostly Albrecht's dream? Because if so then this the first I've known of it!

I am completely baffled as well, as I am sure Theophile Gautier who wrote the scenario would be!!! 

[Dawnstar]

Thanks. I'm relieved to find I haven't been misinterpreting Act II.

[bridiem]

22 minutes ago, Dawnstar said:

Going through the reviews in the last couple of days of Links & I am completely baffled by this section in the Seeing Dance review:

 

 

Is Act II meant to be mostly Albrecht's dream? Because if so then this the first I've known of it!

 

I'd missed reading this review. How bizarre! The reviewer has clearly completely misunderstood what's going on (and clearly hasn't read the programme, which you'd think a critic would do if only to get the background facts about the production correct). And it wouldn't really make sense anyway - if Albrecht wakes up and it was all a nightmare, Giselle was sleeping peacefully in her grave all along anyway. (And, of course, reducing the whole thing to a bad dream rather than a 'real' tragedy of loss, forgiveness, redemption, etc, would be awful!).

[Emeralds]

1 hour ago, Dawnstar said:

Going through the reviews in the last couple of days of Links & I am completely baffled by this section in the Seeing Dance review:

 

 

Is Act II meant to be mostly Albrecht's dream? Because if so then this the first I've known of it!

I wonder if the reviewer got confused by the pose where Albrecht kneels on one knee and puts his head on one hand in remorse - it may have looked like he's fallen asleep, extraordinarily well balanced without falling over (maybe Albrecht trained with SAS or soldiers who can sleep standing up, haha) - because his eyes are closed? But I think ballet classics tend to be more obvious- if falling sleep is the intention, we lie down completely horizontal, or lying on some object acting as a pillow, preferably with some theatrical yawning as well. 😄 

[SheilaC]

4 hours ago, Dawnstar said:

Going through the reviews in the last couple of days of Links & I am completely baffled by this section in the Seeing Dance review:

 

 

Is Act II meant to be mostly Albrecht's dream? Because if so then this the first I've known of it!

The great Russian Albrecht, Vladimir Vasiliev, interpreted the 2nd act as though it was a dream or his imagination. If you were sat close to the stage you felt as though you could read his mind. An incredible actor as well as wonderful classical dancer.

[Roberta]

Not Mary Skeaping's Giselle so forgive me, it predates her version and her time as ballet mistress at Sadler's Wells Ballet but I chanced upon this recently so I'll quote a tiny extract relevant to staging Giselle and the perils of flying Wilis. Beware the Phantom of the Opera (House)! 

 

The Sadler's Wells Ballet A History & Appreciation by Mary Clarke pub 1955 

 

https://archive.org/stream/sadlerswellsball010229mbp/sadlerswellsball010229mbp_djvu.txt

 

1945 - 46 season 

On I2th June Giselle made its reappearance in new decor and 
costumes by James Bailey, a young designer discovered by Ashton, 
whose first important work for the theatre this was. It was a first 
taste of the "bigger and better" philosophy which was to disfigure 
so many of the early productions. Bailey's designs were attractive 
and very much on the right lines, but they were carried out with 
rather too much splendour. The habiliments of the nobles, in 
particular, were so ridiculously ornate that they completely swamped 
the simple style of the old ballet. It was not until several years had 
passed that Bailey was given an opportunity to modify his designs 
and improve the general balance of the production. His present 
version is infinitely better and a real evocation of the Romantic 
period. 

Nevertheless this first fussy version was a popular success and, 
as is usually the case with the rarely performed Giselle, it filled the 
house. Fonteyn danced faultlessly, but seemed to have lost the 
pathos of her earlier performances, and Alexis Rassine never 
managed to make a complete character of Albrecht. He had some 
sympathetic moments but seemed to find it difficult to maintain a 
performance, and would occasionally lose contact with the audience 
and slouch or stroll about the stage as if at a rehearsal. It was this 
lack of continuity in his performances that prevented him from 
ever quite attaining the position that his gifts as a dancer and mime 
should have earned for him. 

Some experiments in production effects were introduced into 
this Giselle with no very marked success. The Queen of the Wilis 
(Beryl Grey) was required to come up from the bowels of the 
earth through a cavernous opening and some Flying Wilis on 
wires skimmed about at the beginning of the second act. They 
were "produced" with rather less imagination than is usually 
expended on the Rhine Maidens, and simply floated about from 
one side of the stage to the other. One memorable evening a Flying 
Wili came too close to the earth and collided in very human fashion
with Albrecht as he prayed by the tomb of Giselle. After that the 
phantoms were not seen again at the Royal Opera House. 

 

Mary Skeaping does get a mention in 1950 

 

The first-night audience in San Francisco was a society one which 
received the company with polite applause that reminded them of 
the more difficult kind of gala performance in London. The Press 
was restrained in its enthusiasm and sometimes very critical. The 
season was successful, but it was not the "push-over" that the 
company had enjoyed in most other cities. 

By this time the strain of touring was beginning to show. There 
were many minor strains and skinned toes and Pamela May and 
Gerd Larsen had to return home for medical treatment. At the 
end of the two-week San Francisco engagement Ninette de Valois 
also returned to England (to start work on a revival of The Prospect 
Before Us for the Sadler's Wells Theatre Ballet), and the company
remained in the charge of Frederick Ashton, Herbert Hughes and 
Mary Skeaping, the ballet mistress. 

 

 

[Irmgard]

20 hours ago, Fonty said:

Also, Hilarion's actions are entirely understandable, given that Albrecht strides up to the area outside, dressed in peasant clothing but wearing an expensive cloak and with his sword strapped to his side.  The stupid idiot.  Didn't he think when he was putting it on that it might be spotted?   Now why didn't his companion say to him that perhaps the outfit wasn't appropriate and persuade him to wear some rough old coat and swap his sword for whatever peasants carried in those days.

But then, reality has never been a strong point in any dramatic tale....

 

"Stupid idiot" is exactly what Albrecht says to himself in Skeaping's production when he realises he is still wearing his cloak and sword 😁.  He's so anxious to see Giselle that he's forgotten to take off his cloak and sword before he gets to the village.  Wilfred arrives after Albrecht has hidden his cloak (not an expensive one in this production) and sword in the hut (referred to by Gautier as a "cabine") to tell him to stop this folly and come back to the castle with him...

[Irmgard]

20 hours ago, Roberta said:

 

Whose shed is it anyhow?  How is it Albrecht has access? If it is his as part of his estate how is it that no-one recognises him until the hunting party with potential father in law & fiancé arrives?  Does it belong in fact to the Duke?  So many questions! 

In the Skeaping production, the castle and all the surrounding lands belong to the Prince of Courland and his daughter, Bathilde, so Albrecht (Duke of Silesia, which is not in the Rhineland) is on an extended visit to his fiancee (perhaps for the actual wedding ceremony) which is why no-one in the village recognises him (and there would be many villages attached to the Prince's lands so some of the villagers may never have seen the Prince or Bathilde before, either).  HIs resourceful squire, Wilfred, would have ascertained that there was an empty hut or cabine in Giselle's village for Albrecht to use when he is escaping from the Court. In Skeaping's production, there is no lock on the door (it is too humble a dwelling to have such a thing) but, as Albrecht closes the door, the rusty latch sticks, which is why Hilarion has to use his knife to gain entry.  Of course, the audience does not know about the latch sticking, but that is the dramatic motivation given to Hilarions when rehearsing the scene. 

[Roberta]

41 minutes ago, Irmgard said:

the rusty latch sticks

 

If only WD40 had been available at the village shop. 

 

If that hut hadn't been conveniently next to beautiful Giselle's humble dwelling, we'd not be here now still talking about it all. 

 

Edited January 16 by Roberta

[LinMM]

😂😂 Roberta! 
I will start believing the Wilis are real soon!! 

[annamk]

According to ENB website Frola is dancing this evening with Khaniukova ......

[Irmgard]

ENB's website has finally been updated to show that Frola will dance with Khaniukova this evening.  This is not due to any injury to Arrieta.  Arrieta has graciously stepped aside to allow Frola to have a second performance, as he had to miss his show last Friday.  Khaniukova would have done the same for Oliveira but she is still injured.  I love the wonderful camaraderie amongst all these dancers🥰 !  Khaniukova and Arrieta will dance the last show together (21st) as planned. 

[Roberta]

11 minutes ago, LinMM said:

I will start believing the Wilis are real soon!! 

 

"If you go down to the woods tonight, you're sure of a big surprise"

 

I'd stay clear as who knows? 👻

[LinMM]

Well with the break from your usual reality when you are getting a bit isolated at home because of injury any alternative reality can suddenly start to come into play 🙃🧚‍♀️😱🫥

[Roberta]

On 11/01/2024 at 00:43, Irmgard said:

These are David Walker's designs and suggest the early Tudor period for the ladies, as well as the gentlemen, before ruffs and farthingales

 

Just to draw to everyone's attention there is a really good photograph of the court ladies in their utterly beautiful Tudor dresses in the Gramilano review (see yesterday's Links From @Jan McNulty) by Jann Parry https://www.gramilano.com/2024/01/review-english-national-ballet-giselle/ Click on photos to enlarge. (One for @Blossom whose query it was.)

[Sim]

58 minutes ago, Irmgard said:

ENB's website has finally been updated to show that Frola will dance with Khaniukova this evening.  This is not due to any injury to Arrieta.  Arrieta has graciously stepped aside to allow Frola to have a second performance, as he had to miss his show last Friday.  Khaniukova would have done the same for Oliveira but she is still injured.  I love the wonderful camaraderie amongst all these dancers🥰 !  Khaniukova and Arrieta will dance the last show together (21st) as planned. 

What a lovely and selfless gesture from Aitor.  I like him even more now!

[alison]

Aaagh!  Maybe I will be seeing Khaniukova's Giselle three times now ...

 

That really is very generous of the dancers.

[alison]

1 hour ago, annamk said:

According to ENB website Frola is dancing this evening with Khaniukova ......

 

The casting on my computer still shows Arrieta ...

[Emeralds]

1 hour ago, LinMM said:

😂😂 Roberta! 
I will start believing the Wilis are real soon!! 

But they are indeed real....their importance in ballet and the world of performing arts is undeniable.  😊

 

[Emeralds]

Aitor Arrieta = noble in his dancing, noble in real life ethics and character. 👏 🌟 👍 

 

PS those of you with tickets tonight (you are very lucky either way!) and those not going, have a look at Aitor's incredible coda in Grand Pas Classique on ENB's social media yesterday. I swear he has wings there.....

Edited January 16 by Emeralds

[Roberta]

Latest on Twitter / X  from ENB.

 

 

[Shade]

Reading all the posts so far I am excited to go Friday evening as that fits best with work schedule. 

[San Perregrino]

32 minutes ago, alison said:

 

The casting on my computer still shows Arrieta ...

 

when you refresh the page it automatically defaults to the 11th January perfomance, hence Katja & Aitor.  select today's date from the drop-down menu and you get Katja & Gabriele.

[alison]

I had just Ctrl+F5'd before I posted that, and it wasn't showing as updated then.

 

The really frustrating thing has been how well this season has sold - albeit perhaps with offers (although I think I've detected some signs of dynamic pricing?) - I'd normally expect to be able to pick up something in the balcony late on, but every performance I've tried has been sold out, which is making changing your plans at the last minute rather expensive!

[capybara]

9 minutes ago, alison said:

The really frustrating thing has been how well this season has sold …..

But this is fabulous for the Company and, maybe as well, a signal from the paying public that they want to see CLASSICAL ballet.

[San Perregrino]

51 minutes ago, capybara said:

But this is fabulous for the Company and, maybe as well, a signal from the paying public that they want to see CLASSICAL ballet.

That said, even though the tickets were reasonably priced at full face value, they didn’t sell quickly. Even with generous discounts of up to 50% it has been a struggle to shift 100s of seats until recent days. I think the blanket advertising on public transport plus 4 star reviews have really helped this week. Perhaps there’s been some papering, perhaps not.

Edited January 16 by PeterS

[Roberta]

1 minute ago, PeterS said:

That said, even though the tickets were reasonably priced at full face value, they didn’t sell quickly.

 

Post Christmas, everyone is Nutcrackered out and skint possibly? Wary of what January weather could bring?

 

 

 

 

[Fonty]

The cheaper seats have sold extremely well, but the more expensive ones in the Stalls seem to have plenty remaining.  I've just picked up one as I decided to go again and see it from a different position.

[FionaM]

2 hours ago, alison said:

I had just Ctrl+F5'd before I posted that, and it wasn't showing as updated then.

 

The really frustrating thing has been how well this season has sold - albeit perhaps with offers (although I think I've detected some signs of dynamic pricing?) - I'd normally expect to be able to pick up something in the balcony late on, but every performance I've tried has been sold out, which is making changing your plans at the last minute rather expensive!

I think the Balcony might not be open for sales … rather than being sold out.

Edited January 16 by FionaM

[Emeralds]

2 hours ago, alison said:

I had just Ctrl+F5'd before I posted that, and it wasn't showing as updated then.

 

The really frustrating thing has been how well this season has sold - albeit perhaps with offers (although I think I've detected some signs of dynamic pricing?) - I'd normally expect to be able to pick up something in the balcony late on, but every performance I've tried has been sold out, which is making changing your plans at the last minute rather expensive!

Treat yourself to a more comfortable seat, Alison? Still cheaper than ROH for similar unrestricted views. Eg No way I could have gotten an unrestricted view (with arm rests and ample space) at ROH for £37.25  (includes booking fee but no discount) for their Giselle. Cheaper than Georgian Swan Lake too! I'd happily pay double to see Frola as Albrecht, McWhinney as Myrtha and Bueno in the Peasant pas de deux (Khaniukova I already saw so it is kind of double already)

 

NB Miguel Angel Maidana replaces Daniel McCormick in Peasant pas de deux (McCormick is dancing Albrecht tomorrow so that makes sense.)

 

PS I haven't found anyone who looked like a "papering" audience member although I think a few said they managed to get last minute / Today Tix discounts (but then I have  a multi buy discount so not complaining at all). 

Edited January 16 by Emeralds