Giselle
Brisbane Ballet
20 March 2026
It was a brave and bold statement from Brisbane Ballet as they usher in a new era for the company. Founder, Artistic Director, and choreographer Emrys Goldsworthy took on the challenge of his first full-length story ballet with Giselle—no small feat for any organisation, let alone an emerging one.
It’s important to recognise that a smaller company like Brisbane Ballet must work even harder without the financial backing and infrastructure of the larger institutions. To take on a production of this scale is, in itself, a significant achievement.
With set design by Paul Jones and costumes by Emrys Goldsworthy and dramaturg Tahlia Goldsworthy, Giselle was placed in the shadowy edges of 1800s West Germany, evoking the mystery of the Black Forest. The aesthetic leaned toward minimalism and neoclassical influence—and, to be honest, I didn’t find myself missing the grandeur of a traditional set. Instead, my focus shifted toward the characters, the storytelling, and the energy within the dancing.
This approach inevitably places greater pressure on the dancers to be expressive and cohesive. With time and shared experience, this is an area where the company will undoubtedly continue to grow. Building a unified corps de ballet takes time, and over the course of the performance, you could see that cohesion beginning to emerge. The effort being put in was evident.
There was an honest joy to the dancing in Act I, a reminder of why creating more opportunities for artists within Australia is so vital. The chance for dancers to share their love of the art form in this way is something to be celebrated.
The women were dressed in soft, neoclassical silk skirts in pastel tones, while the men were elegantly attired in period-inspired tights and vest combinations. Brisbane Ballet collaborated with Gents HQ and Nethini Gomes, highlighting a spirit of creative partnership within Brisbane’s cultural sector. This kind of collaboration is exactly what the Australian arts scene needs: supporting one another and building something stronger together, not knocking each other down.
Rafaela Morel in the title role of Giselle delivered a natural and assured performance. Her Giselle was delicate, with a quiet vulnerability. Opposite her, Ivan Tarakanov’s Albrecht was enthusiastic, playful, and joyful in his approach. Together, they shared a youthful chemistry and committed to their roles.
Goldsworthy also introduced a specially choreographed pas de trois in Act I, danced by Lucinda Worthington-Shore, Maeve Rooney, and Matthew Maxwell. Maxwell’s solo leaned into pirouettes and a more lyrical male style—not typical, but a worthwhile addition to this ballet. His partners both demonstrated strong technique and refined performance quality.
Hilarion, performed by Peter Harris, carried a sense of longing throughout Act I. His dramatic arc culminated in a striking end to the act, holding Giselle’s lifeless body. In Act II, his death by dancing was executed with some clean cabrioles and a sense of mounting dread.
The second act featured a stark stage, marked only by a neon outline of a crucifix. While I understood the conceptual direction, there is room to develop this idea further. I found myself hoping for Giselle’s spirit to emerge through the neon cross.
Imogen Walters, as the Queen of the Wilis, brought a solemnity and an underlying sense of melancholy to the role. It is an extremely demanding part, culminating in a sequence of sustained jumps over several minutes. With time, her confidence and strength in the role will continue to grow. Her natural line and stature suit this character.
The lead couple moved with a gentle, floating quality through Act II. Ivan demonstrated impressive strength in his partnering and some fast allegro in entrechat six, while Rafaela embraced the delicacy required of the role. Notably, her attention to detail—even in something as simple as her immaculate hairstyle—spoke to years of dedication and refinement.
The Wilis as a group deserve recognition for their effort and clean lines. For a relatively small ensemble, they pushed themselves admirably and with commitment.
For Brisbane Ballet, this production feels very much like a “watch this space” moment. There is potential here, and it will be exciting to see how Goldsworthy continues to develop the company and bring these dancers together with more consistency.
Providing accessible ticket pricing and opportunities for younger aspiring dancers and families to experience ballet live is essential. With increased funding and continued collaboration across Queensland’s arts community, there is real scope for even more ambitious work in the future.
There are more performances to come, and this production marks the beginning of what could be a journey for the company, offering valuable opportunities for young dancers in Queensland and beyond to engage with master ballets like Giselle.
-Daniel Gaudiello