Review of ‘Giselle’ (2026, London Coliseum): “Modern remake of haunting romance is this month’s theatrical heartthrob”

The English National Ballet brings back Akhram Khan’s raw reinterpretation of the stirring love story. Guillermo Nazara shares his views on the show to let us know if its aggressive style hits all the right places.

If Adolphe Adam’s classical piece is widely regarded as the quintessential romantic ballet, Akram Khan’s remake of the tragic tale has earned its own separate distinction. And in many ways, it should be higher. It is that good. Its latest return to the London stage, playing for a one-week run at the London Coliseum, is a testament to its endurance — and to how words can barely describe something so exquisite.

The sweet melancholy of Adam’s original version is replaced by a crude, unfiltered depiction of passion, lust, loss, and sorrow. Khan’s primal approach pervades each element of the production. There’s no softness to it. Every part is a direct stab to the soul — each one more intense, and ever so powerful and stirring.

The charming little village, where the pretty peasant falls in love with the handsome prince, has been replaced by a tribal, post-apocalyptic community. A large concrete wall, covered in charcoal handprints, forms the entire setting. And at the same time, it acts as an ominous warning for what’s to come — they are the dark shadows of memories; painful to remember, and forever indelible.

As the townspeople start their ancestral dance, the show’s viscerality begins to permeate. It’s an explosive mixture of clashing components, all of which blend in an edgy yet stable union. Its contemporary ferocity is balanced by gentle strokes of classical delicacy. And further from coming off tame, its vigour is only accentuated.

It’s a work of instinct supported by broad knowledge and understanding behind every decision. Consequently, audiences are put through a cathartic experience, where the choreography’s arresting beauty and piercing poignancy are just the zenith in a long list of outstanding qualities.

Its execution, both from a creative and performative perspective, is fairly impressive. Not a single excerpt loses momentum. Every number brims with zest and emotiveness, delivering high-energy renditions that flaunt satisfying precision and complexity, and which are put together with technical flawlessness for the most part.

Its visual allure is generally matched by its ability to communicate. The entire plot is narrated with excellent command, sometimes to the extent of achieving new levels of memorability. Its representation of Giselle’s doomed fate at the end of Act One is only one instance of the production’s overflowing theatricality, whose grip holds the viewers tight until the very end.

The staging is deeply atmospheric, and its simplicity is its strongest weapon. Mark Henderson’s pulsating lighting weaves a rich, ambient tapestry that vastly encapsulates the sentiment of every segment. In addition, Tim Yip’s black box design elevates the piece’s bleakly oneiric tone, while the use of a revolving wall to portray all the spaces reinforces its dynamism.

Vincenzo Lamagna’s minimalist score travels directly into the audience’s hearts. Its rough, ethereal, and occasionally fragile sound perfectly captures the essence of the plot while meticulously conveying the journey of every scene. Built upon Adam’s original music, his overall cinematic style shares similar virtues with a Michael Nyman composition — grounded yet soaring, uncomplicated yet clear-cut, subtle yet resonant.

Maria Seletskaja’s conducting underpins Lamagna’s fervency. The orchestra roars vehemently as the audience is transported into a narrative frenzy, and it whines in tuneful lament with the exact same potency. All in all, their interpretation displays intricate colour and phrasing — sometimes exuding virtuosity, particularly from the string section.

An utmost triumph in every aspect, Akhram Khan’s Giselle remains an unbeatable force in the current theatrical landscape. Greeted by a rapturous and well-deserved ovation on its closing night, its extraordinary craftsmanship is a glorious example of what talent and commitment can bring together.

As the shattered Prince stands in solitude, watching the ghost of her beloved vanish for all eternity, we are reminded of the infinite nature of art — especially when it reaches these standards. While the performance may have concluded, its galvanizing effects are bound to last forever.

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All pictures credit to ASH.

English National Ballet’s upcoming shows are available on the following link.

By Guillermo Nazara