A Glimpse Of Genius: Akram Khan's 'Giselle'

A couple of weeks ago I was scanning the internet in desperation, trying to find a ticket to see Akram Khan’s Giselle for English National Ballet. Having seen it on opening night, jaw never quite closing, I made it my mission to find another ticket. I am so glad to report that I was fortunate in my search and was able to see it again. If tickets had been available, I think this is something I would have seen every night of the run, I enjoyed it that much. I’ve found it incredibly difficult to find the words to describe it, so all I can come up with is this adoring waffle below:

Genius isn’t a word that I use lightly. In fact, I often wonder whether there is genius present in much of new dance that I see today. Sure there is talent; there are pieces that make you think, that are awe-inspiring or exciting, but I’m talking something where you put your coat on at the end of the performance, smile to yourself, jump on the tube and tell the person sitting next to you that you’ve just been in the presence of greatness. If I had been sitting next to anyone on the tube when I went home from Sadler’s Wells after seeing Giselle, I think these words may have escaped my mouth, for what Akram Khan is doing right now with movement and choreography shows me that there is a choreographic genius in the making here. I’ve only seen Dust and Giselle, so I can’t comment on what else he has done, but I’m fascinated with the way he tells narrative and blends traditional kathak dancing with ballet. I’m completely sold by it and by what I’ve seen of his work. Tamara Rojo, English National Ballet’s Artistic Director and also Lead Principal Dancer, cleverly commissioned Khan to re-work one of the oldest and most classical ballets in the repertoire. It’s a decision that many felt apprehensive of – you mess around with Swan Lake but never Giselle. Think about it– how many total re-workings of this ballet are there? As far as I’m aware, not many, and how strange, since the themes are everlasting to human nature. Simply, a woman betrayed by a man, a man tied down to duty, social classes dividing. So daily occurrences in England then. Yet, this is the first time that such a contemporary version has been offered to an audience. I must admit, if you’ve seen the original version once or twice, you may be a bit baffled as to what is going on in Khan’s version. I think this has frustrated quite a few. But I’m lucky enough to have grown up with this ballet, and I know every inch of the choreography, narrative and music, so for me, I got it all. I can’t determine whether you will ‘get it’, reader who has only seen the original once, but I have confidence that the choreography is clear enough. I’m confident, because Khan’s choreography is brimming with so many details that replace the original choreography yet they remain easy to follow. I love that the crown gesture is used throughout, that Giselle wraps her arms around her stomach to suggest she is pregnant, that the Wilis’ hands often mimic wings and that Giselle’s hand makes a sewing movement to convey her role as a seamstress in the factory. I also love how Hilarion has a leading role in Khan’s version, and his jealousy and need to impress the aristocracy are highlighted so thoughtfully throughout. In fact, Hilarion is probably the most fascinating character in the ballet, made even more mesmerizing by Cesar Corrales, ENB First Soloist. I’m not sure I’ve ever seen anyone move the way Corrales does. He is so well suited to this choreography and his raw attitude and facial expressions actually give Hilarion a cool, badass character. Something quite far away from the bizarre furry-gilet-wearing-fake-bearded-here’s-a-chicken-Giselle’s-mum cringe worthy Hilarion that we get in the original. You know what I’m talking about. There is nothing cringe about Corrales though. He was such a highlight and from the moment he started dancing my interest shot up and I was already completely taken with this ballet.

Khan’s Giselle is rich in choreography and there aren’t moments where one gets bored or debates in their head whether to part with £3 for an ice cream in the interval. From the get go, my attention was nowhere other than on the stage. The music has been cleverly re-pieced together, taking original (quite random actually) snippets from the original and re-working it with traditional Indian music tones and a searing industrial, almost cinematic, sound. I’ve already googled streaming the soundtrack but it’s nowhere to be found. The set and costumes are also wonderful, and although we are slightly in Game of Thrones territory with the wall, I loved the way it really played on the idea of the divide between worker and aristocratic life. There is a clear divide between these two worlds, a divide that Albrecht cannot reconcile as he is torn between his love for Giselle and his duty to marry the downright mean and icy, Bathilde. The divide is made even clearer by a harrowing klaxon going off to mark the arrival of the aristocrats and their costumes are so opulent and glittery, they clearly differ from the plain factory worker clothes of the workers. I like how Khan really highlights this divide, to make Albrecht’s betrayal even more painful for Giselle and in turn, for him. Khan also cleverly re-works the entire second Act, turning up girl power to the maximum level and making each Wili dance on pointe (something which seemed to symbolize their being as a spirit) and have possession of a stick. I didn’t really get the sticks at first, but they became a clear emblem of power especially when they jab and kill Hilarion in the most fantastic patterns. They were such a powerful gang – frightening, strong and confident and believe me you would want them standing behind you should you ever walk into a fist fight. Khan also has a real talent for creating emotive and moving dance. The fight scene between Hilarion and Albrecht is one of my favourite moments and I also love Giselle’s mad scene and Hilarion’s death (I’ve always had quite a gothic mind) – but the pas de deux between Giselle and Albrecht before she must leave him for good, is emotional, warm and intimate, something which I often struggle to find in a lot of contemporary choreography. He is able to create tension and anger but at the same time love and passion. It’s breathtaking.

The choreography is made meaningful and believable by the fantastic ENB dancers. I loved the opening night cast with Tamara Rojo, James Streeter and Cesar Corrales providing passion, energy and talent buy the bucket load. I also loved the second cast with Alina Cojocaru, Isaac Hernandez and Oscar Chacon who I think provided a deeper level of characterization. I loved all of them, but I think the opening night cast suited the choreography more while the second cast took it to a more emotional level. What shocks me as I look through the ENB website, is that James Streeter is a Soloist. Surely he needs a promotion after his portrayal as Albrecht? He was fabulous, as was Stina Quagebeur who played a mesmerizing and violent Myrtha. Stina is a First Artist. Not quite sure what’s going on there, but some promotions need to be made pronto. If I could, I’d have the whole company as Lead Principals, I think they are all that good but I respect Rojo for taking her time.

I am clinging on to YouTube clips of this production, re-watching them constantly just to see a glimpse of the choreography or hear a taste of the music. I suppose it will have to do until September 2017 when ENB will bring this back to Sadler’s Wells. Unfortunately it’s only a 3-day run so I will book three days leave from work in the New Year. The only flaw with this production is that the run was too short. I believe in the whole leaving them wanting more mantra, but when dance is this good, wanting more is going to exhaust me until next September.