The London Coliseum hosted last week the 2025 return of one the company’s signature productions. Guillermo Nazara shares his views on the show, to let us know if this revival of Adolphe Adam’s ghostly romance ends up digging its own grave.
I’ve said it all in regards to Mary Skeaping’s treasured creation. It’s been watched, it’s been reviewed. This is the same production, same company, same venue. But that’s the magic of theatre: you never see two identical things twice onstage. Clearly, the English National Ballet has made of that concept their new mantra – as no matter how close last weekend’s performance was to my first encounter in 2024, the whole act felt like a completely new experience which however brought back a very particular kind of memory: the childlike thrills of an enthralling theatrical jaunt.
There’s not much else to describe if you’ve read my previous comments about the montage – and I know you have because you don’t want to piss me off now that my anger-control sessions have been cut off. It’s a simple story that inundates you with the most complex emotions. Charm, marvel, sorrow and haunting. It has it all, and not only from a dramatic perspective. Giselle is a classic masterpiece that’s been beautifully curated by a team with as much as proficiency as the man who wrote it – and it really shows.
To revisit this version is to immerse yourself once again into the allure of old-fashioned tradition. Limelight-tinted staging and drawn-on fabrics take us into this land of fantasy where fairy tale romance dwells and wanders. There’s no other way to properly dive into this universe than to do it through the spell of its nostalgic enchantment. And it works in such a ravishing manner, you can’t possibly imagine it any differently if you’re thinking classical.
The illusion persists through the company’s almost immaculate rendition, whose execution flaunts a whole new level of quality in comparison to last year’s delivery. The coordination and precision of every movement is basically impeccable in every group number – and the chemistry the principals boast is extremely reinvigorating.
Among them, Katja Khanioukova makes a compelling Giselle through the delicacy and sentiment put into her portrayal, while Emily Suzuki gives a robust, magnetic interpretation as the magical Queen Myrtha. Yet, the most exhilarating moments are provided by Shunhei Fuchiyama in his duet number of the Peasant Pas Deux – giving an totally flawless performance exuding force, stamina and sensitivity; making of him a shining gem that’s not too far from becoming an absolute star.
A sweet, endearing reunion with the spellbinding delight of ballet in its most rooted form, Giselle brings back the passion, stir and bewitchment of this soulful tragedy – through a fairly spotless concoction where talent, care and determination dance altogether to leave audience’s hearts bustling with awe. It may not be the most spectacular piece the English National Ballet has come up with, but it surely displays a very similar spirit of magnificence. And just like its protagonist, its memory will live on forever.
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All pictures credit to ASH.
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