Review: AKRAM KHAN’S GISELLE, Sadler’s Wells

Photo credit: Camilla Greenwell

In a bold and breathtaking reimagining, Akram Khan's Giselle returns to Sadler's Wells, shattering expectations and redefining the boundaries of classical ballet. First developed in 2016, this revolutionary production transforms the beloved 19th-century romantic tale into a searing contemporary narrative that pulses with urgency and relevance.

Khan's Giselle thrusts us into a world where love and class struggle collide against a backdrop of industrial decay and migrant exploitation. The time-honoured story unfolds in a starkly modern setting where Giselle, now a migrant worker, falls for Albrecht, a member of the privileged landlord class. Their doomed romance plays out in the shadow of a massive wall at the back of the stage- a potent symbol of the societal barriers that divide them.

Also a prominent character is Hilarion, perhaps the most tragic figure in ballet's pantheon of ill-fated lovers, who is consumed with unrequited love for Giselle and jealous of Albrecht. Hilarion becomes the catalyst for the unfolding tragedy which leads to Giselle's heartbreak and ultimate demise.

The tale crescendos to Giselle's descent into madness and death, before transitioning to the ethereal yet haunting second act. Here, Khan reimagines the Wilis, not as jilted brides but as the ghosts of dead female factory workers - a chilling reflection of the exploitation at the heart of this contemporary retelling. Led by their formidable queen Myrtha, these vengeful spirits target both Albrecht and Hilarion. With further tragic consequences.

Khan's choreography is a fusion of classical ballet and contemporary dance, infused with influences from Kathak, an Indian classical dance form. This innovative blend breathes new life into the timeless story, exploring its themes through a modern lens while maintaining its emotional core.

The English National Ballet's ensemble, under Khan's visionary direction, delivers a tour de force performance. Erina Takahashi's Giselle captivates with her portrayal of vulnerability and strength, while James Streeter's Albrecht navigates the complex emotions of privilege and desire with nuanced grace. Ken Saruhashi's Hilarion is particularly compelling, his charismatic movements lending a profound believability to this pivotal and tragic character.

Emma Hawes as Myrtha, Queen of the Wilis, is utterly mesmerising. Her ghostly, jagged movements on pointe create a haunting presence that lingers in the mind long after the final curtain. The chorus of Wilis, reimagined as the spirits of exploited workers, transforms the stage into a trance-like otherworld, providing a stark contrast to the high-intensity opening act while reinforcing the production's themes of class struggle and injustice.

The production's music brilliantly underscores the contrast between traditional and contemporary elements with a cinematic effect. Vincenzo Lamagna's original score interweaves with Adolphe Adam's classic composition, creating a soundscape that juxtaposes traditional ballet music with rumbling electronic elements. This auditory fusion perfectly complements Khan's visual and choreographic choices, enhancing the production's themes of tradition versus modernity and privilege versus disenfranchisement.

Tim Yip's visual and costume design captures the essence of the 19th-century original while translating it effectively into the new context. The imposing wall that divides the stage serves as both a physical and metaphorical barrier between the classes, ingeniously transforming Sadler's Wells into a vast, divided landscape. This periodically rotates and tilts creating epic imagery.

Mark Henderson's lighting design further enhances the production's visual impact, skilfully delineating the boundaries between the world of the living and the dead, the privileged and the dispossessed.

Akram Khan's Giselle is a triumph of reimagination. It respects the original while boldly pushing the boundaries of classical ballet, creating a piece that is both timeless and contemporary. This production not only showcases the incredible talent of the English National Ballet but also cements Khan's status as a visionary choreographer. It's a must-see for both long-time ballet enthusiasts and newcomers to dance alike, offering a poignant reflection on class, love, and redemption that resonates powerfully with our current social climate.

***** Five stars

Reviewed by: Stephanie Osztreicher

Akram Khan’s Giselle plays at Sadler’s Wells until 28 September, with further info here.