Giselle

Seeing The Australian Ballet perform Giselle is like coming home. If your home is a peasant village or forest graveyard that is. There is something delightfully comforting in seeing a narrative ballet you know so well. Yes, the story in and of itself is somewhat old-fashioned as is the concept of just so much mime in dance, but not everything old should be thrown away. This is never more evident than in the beautiful story-book scrim which transports you into the world beyond.

It’s lovely that in this, the Australian Ballet’s 254^th performance of the ballet they still use the late Peter Farmer’s sets and costumes coupled with the late Bill Akers original lighting design (albeit reproduced for this production by Graham Silver). There is something very touching that the Australian Ballet provide the audience a sense of continuity with these elements and have resisted the urge to restage for the sake of restaging. If it ain’t broke, don’t fix it.

This performance of Giselle is probably the best the Corps de Ballet have performed in a very long time. Their usual (and often times maddening) looseness and lack of unison was almost gone. The Wilis seemed as though they were literally floating, draped in burial shrouds. As they moved into the now iconic arabesque battle lines they managed to meld the ethereal with the downright menacing. Valerie Tereshchenko did a serviceable job as Myrtha but there was a heaviness in her promenade arabesque which showed how hard she was working to look effortless. Andrew Killian was somewhat wasted as Hilarion, with not a lot to do except walk and pose. When he finally got to dance in Act II, it reminded the audience that there is indeed a reason why Principals become Principals.

Ako Kondo played Giselle for opening night and, as always, her dancing was flawless. There is a lightness in every step that Kondo takes which sets her apart from others on stage. It was her ability to emote, however, that made her such a successful Giselle. There is a line between slightly annoyed and a descent into complete madness and eventually death, which dancers for the Australian Ballet have sometimes not successfully navigated in productions of Giselle. Not so tonight. Kondo’s performance was exceptional. Ty King-Wall was similarly exceptional as Count Albrecht, showing his extraordinary athleticism. The grueling 32 entrechat six was astonishing to watch. But the real highlight of the show was the Act I pas de deux of Jade Wood and Brett Chynoweth. Together, and for their solo piece, both dancers proved their style and mettle as they leapt to lofty heights with apparent ease. 

This year’s production of Giselle is once again flawlessly accompanied by Orchestra Victoria. Giselle is a great big romantic storybook ballet, beautifully staged. It will surely delight traditional ballet fans and new lovers of dance alike. 

L.B.Bermingham

Photographer: Jeff Busby