West Australian Ballet: Giselle -
His Majesty's Theatre, 9 May -
West Australian Ballet's latest production of Giselle, based on the original version attributed to Coralli and Perrot, has been restaged and regenerated by artistic director Aurélien Scannella and ballet mistress Sandy Delasalle. Featuring several debut performances in leading roles by WAB dancers, there was a current of excitement and edgy anticipation coursing through the packed theatre for the première in Perth.
Many incarnations have followed Giselle's 1841 Romantic-era beginnings, most staying close to its provenance and traditional Rhineland setting. This new presentation follows the historic path and has been beautifully staged, streamlining the telling of what is a morality tale for the ages, with subtle changes providing more dancing and less mime without losing the clarity of the story. Some additional choreography has also been added to existing sections. An unforced, natural style of acting by all of the performers was engaging and aided the creation of a faithful, yet not backward-looking, version.
With designs based on originals by Peter Cazalet, Act I takes place in an idyllic pastoral 'landscape' with rural cottages, green trees, soft skies and villagers dressed in autumnal shades. Act II is set in a dense and eerily beautiful, moonlit forest inhabited at night by the Wilis, white-clad apparitions of jilted maidens who have died before their wedding day. Masterly lighting and special effects designed by Jon Buswell enhanced these scenes.
Conductor Wolfgang Heinz led West Australian Symphony Orchestra through the Adolphe Adam score, with an accord and attuned response to the unfolding drama on stage, and exquisite playing despite a couple of tonal issues in the strings section. However the inclusion of a fugue in Act II before the pas de deux seemed out of place stylistically and dramatically.
Brooke Widdison-Jacobs made an auspicious and confident debut as Giselle with a finely characterised interpretation of a gentle yet playful and ultimately betrayed young woman in love. She found a touching softness, lightness and joy as she danced, occasional nerves never diminishing a heart-rending and accomplished performance. Her tragic 'mad-scene' in Act I was sensitively crafted and poignant. She prolonged the graceful, extended lines of the développés in the second solo adagio section in Act II and, together with Matthew Lehmann, reached a consoling transcendence in the pas de deux and in her melancholy return to the grave.
Lehmann as Albrecht gave a totally convincing, multi-layered performance as a born-to-rule, deceitful nobleman who is ultimately exposed, shamed and left bereft and heartbroken. He performed the solos with measured precision and prowess while always maintaining his characterisation, and he is an exemplary partner. Daniel Roberts as Hilarion was impressive as a jealous, intense and rather menacing young man who knelt, distraught, by Giselle's gravesite in Act II.
Highlights of Act I included the Peasant Pas de Deux with audience favourite Andre Santos partnering Sarah Hepburn, Santos attacking the solos with his customary verve and impressive virtuosity. The Prince of Courland's (Craig Lord-Sole) party, regally clad in rich shades of deep red and blue, included an obedient and very cheerful dog who was understandably an instant hit with the audience. And Carole Hill (Berthe) was notable in another fine performance.
Jayne Smeulders' Myrtha effectively summoned her cohorts and Lead Wilis Florence Leroux-Coleno and Melissa Boniface were outstanding in their solos, (the eye-catching Leroux-Coleno becoming a valuable addition to the company), as they led a disciplined ensemble of Wilis creating images of grace and beauty juxtaposed to their vengeful intentions. Casting the same dancer (Smeulders) as Bathilde and Myrtha worked well dramatically as Albrecht is ordered to dance to death by the spectre of his duped fiancée.
The audience remained enthralled and engrossed throughout the performance of this new production of Giselle, with well-deserved cheers, bravos and numerous curtain calls greeting the company after a highly successful opening night.
- Margaret Mercer