For only one evening, Sunday, April 14th, 2024, The Grand Kyiv Ballet adorned the Wilshire Ebell Theatre in Los Angeles. A line around the block included all ages and delayed the start of the performance twenty minutes. Since the war in Ukraine began, dance companies and dancers’ lives have been halted, and their way of life threatened. The Grand Kyiv Ballet was founded by Oleksandr Stoianov to give Ukrainian dancers support for their continued careers outside of their country. The crowd was eager to see the dancers from Ukraine perform a classical romantic ballet, and we all settled into our seats to witness a pure form of ballet dedication to the original work. Although confined by the stage’s limitations, The Grand Kyiv did embrace Giselle’s historic tradition and to beautifully embody this iconic romantic ballet.
Grand Kyiv Ballet’s “Giselle” – Photo courtesy of the company.
Initially the story ballet, Giselle originated in France but Frenchman Marius Petipa later restaged and rechoreographed the ballet in St. Petersburg, Russia. Giselle became synonymous with Russian ballet culture and to this day Marius Petipa’s choreography is the foundation of almost all productions seen around the world. It is the distinction of Petipa’s formalized movement, body placement, gestures, and arms that characterize the roles and their historical significance. Many companies, however, have modernized movements that differ from the origins of the first ballets, including the unique structure of the dreamy posture on romantic ballets. Structures have been lost or repositioned due to changes made during the process of passing down instructional information from ballet master or repetiteur to dancer(s) and dancer training.
It is to be celebrated that Oleksandr Stoianov has enabled the Grand Kyiv to personify the correct historical stylization throughout the entire performance. The sets and lighting designed were appropriate and adequate to the ballet’s needs. It is also admirable that the company tours and brings full classics to audiences, but the ballet suffered in many different areas because the Wilshire Ebell Theatre stage was not large enough. The reality of this venue is that it is a gem for many groups and for the city of Los Angeles. A full-length ballet, however, includes grand variations and group sections and without proper space these dancers struggled to fit the full choreographed movements onto its stage. Due to this confinement, at different times dancer’s segments and steps were altered, repositioned, or simply taken out.
Grand Kyiv Ballet in “Giselle” – Photo courtesy of the company.
The first act had many of the ballet’s requirements such as the main characters and even the two beloved hunting dogs. In this version, the dogs were held by court servants rather than Bathilde, acted by Marlia Heichuk, which allowed a separate notable entrance. It would be nice to see her costume appropriately designed for the Middle Ages but nevertheless, Heichuk provided an elegant regal Lady, daughter of the respondent and stately Duke (enacted by Richard Antoniuc). The ballet story telling portions for all the characters were musical, clear, and accurate. The corps de ballet villagers consisted of eight ladies or eight couples who were forced to dance underneath themselves and many times on demi pointe. All players managed to stay in character and to exhibit the appropriate arm and positions of the period, yet the steps for Giselle’s four friends were not always jointly unified, and the costumes were pink instead of the usual peasant dresses. These lovely ladies did, however, always physically maintain the appropriate style.
The couple danced nicely together in the peasant pas de deux, but the male dancer had trouble staying in place during his partnering stances. His feet, although attractive when pointed, flexed too often during his solo sections while the female delightfully executed the most challenging movements of her solo. A handsome Mykola Khoma (Hilarion) projected his role with true refinement. Usually, Hilarion is portrayed a little rough around the edges but here, Khoma came across as a lovable character moving smoothly through his mime and dance movements. Khoma also possessed a natural stage presence. His skills were superb in Act II, demonstrating long extended legs and limbs, terrific height in jumps, and fine balletic lines. It would be nice to see him dance more.
Grand Kyiv Ballet in “Giselle” – Photo courtesy of the company.
Throughout the ballet, Victor Tomashek was an attractive and polished Albrecht. He was a well-suited, seasoned partner, and remained true to the Vaganova method – his technique finely executed – and Tomashek moved with a strength, solidarity, and vigor. Kateryna Kukhar is a beauty, and she has a lovely soft airy quality as she played a quintessential doe eyed Giselle. In first act, her steps were simple dating back closely to Petipa’s original choreography, and her technique was clear, concise, and congruent with the period. Kukhar’s arms billowed perfectly into place, and her gestures were supple and unassuming. It felt as though one had traveled back in time to the commencement of story ballets. Unfortunately, the customary hops on pointe from the corner traveling diagonally did not happen but were replaced with simpler fondu relevés in front. The orchestrated prerecorded music by composer Adolphe Adam was slower than other company versions which quite often allowed Kukhar to hold longer more picturesque balances. The mad scene was genuine to her chosen persona and therefore she came across as believable. Kukhar also excelled technically and in the second act she beautifully transformed into a ghostly Wili.
Grand Kyiv Ballet in “Giselle” – Photo courtesy of the company.
In Act II, Anastasia Hurska presented a stern and strong Myrtha, Queen of the Wilis, although parts were left out or cut short in her variations, entrances and exits, and she was at times off the music. Hurska did hold balances superbly and her grand jeté and other leaps were abundant, while continuing to conjure the spirit of Petipa’s stylistic personification. All of the Wilis showed exemplary dedication to the form; yet skirts should be longer in this romantic ballet. The two Wili soloists, Alisa Kuzmenko and Nikol Demura, were exquisitely engaged and focused on each of their solo parts, helping them to accomplish the ballet’s challenging moments.
It would be good to see this company on a larger stage, allowing them to adequately encompass all sections of the ballet. But on the whole, the Grand Kyiv’s purity of positions was a delight to witness as well as the protection and continuation of this ballet tradition. It is admirable to see Ukrainian dancers continue their dedication to their artform. LADC made several attempts to acquire dancers’ and designer’s names but unfortunately a few were not provided.
For more information on The Grand Kyiv Ballet and to view their touring schedule, please visit their website.
Written by Alice Alyse for LA Dance Chronicle.
Featured image: Grand Kyiv Ballet’s “Giselle” – Photo courtesy of the company.
