“Giselle,” a ballet pantomime, may not be everyone’s cup of tea with its old-fashioned vibe and less than scintillating score. After all, it’s almost two centuries old and the libretto is a bit corny and the mime can be stagy. But I dare you not to be swept away by the gorgeously nostalgic Pacific Northwest Ballet’s rendition of this classical treasure.
Harkening back to the original production of 1841, the choreography is by, Jean Coralli, Jules Perrot and Marius Petipa with additional choreography and expert staging by Peter Boal. The familiar score by composer Adolph Adam, with added music by Fredrich Brugmüller, Riccardo Drigo and Ludwig Minkus, brings us onstage to, a long-ago Autumn morning in a Rhineland village. Scenic Designer Jerome Kaplan has out done himself with impeccable sepia toned scrims rising to reveal his grand sets. Act One is particularly stunning, with its soaring trees, a castle winding into the distance and billowing clouds above, the paintings of the old masters come to mind. Adding to this artistry is the opulent Lighting Design by Randall G. Chiarelli, that enhances the old world feel.
In this setting we find, Albrecht, a disguised nobleman and the beautiful peasant girl, Giselle. They are in love. When it is revealed to Giselle by Hilarion, the jealous games keeper, that Albrecht is actually the Duke Silesia and is betrothed to another, Giselle goes mad and dies of a broken heart.
Pacific Northwest Ballet principal dancer Elle Macy as Myrtha, Queen of the Wilis, in Peter Boal’s staging of “Giselle” – Photo © Angela Sterling
Lesley Rausch and James Kirby Rogers are delightfully charming as the lovers playing “he loves me, loves me not” with flower petals and innocently flirting all while dancing the sometimes difficult, choreography with perfect ease. Both Rausch and Rogers are top notch dancers but moreover they are also good actors. Ms. Rausch especially holds the stage with her expressive face.
The masculinity of James Yoichi Moore suits the character of Hilarion and he makes the pantomime, which can look silly, work.
Within this Act, the well-rehearsed corps de ballet gets plenty to do as villagers celebrating the harvest season. They bring a delightful liveliness to the stage, perfectly complimenting the spirited score. A nicely done duet danced by Sarah-Gabrielle Ryan and Kyle Davis adds to the gaiety.
The “Mad” scene is wrenchingly dramatic as done by the gifted Rausch. Because of her believability we feel for Giselle in her suffering and mourn her death along with Albrecht and her distraught mother, a wonderful Cecilia Iliesiu. Beautifully staged by Boal, the heartbreaking chaos that surrounds the dying Giselle resolves into a breathtaking tableau. Lighting, set design and exquisite Costume Design, also by Jerome Kaplan, combine to evoke a 16th century masterwork of art.
Pacific Northwest Ballet company dancers as the ghostly Wilis, in Peter Boal’s staging of “Giselle” – Photo © Angela Sterling
An illustrated scrim rises on Act Two to expose a moon bathed forest glade with Giselle’s headstone looming stage right. Gliding onstage with infinitesimal bourrées is the technically superb Elle Macy as Myrtha, Queen of the Wilis, a deadly sisterhood of ghosts who died of heartbreak after being betrayed by their lovers. In the afterlife they ensnare young men and dance them to their death. Now their target is Albrecht. But this is a fairytale and Giselle’s love for Albrecht will save him and the duplicitous Hilarion will become their next victim.
Ms. Macy portrays Myrtha with steely eyed condemnation, which suits her upright approach to the choreography. She accomplishes the very difficult variations with ease but unfortunately her acting is limited to one look, that of haughty contempt. More expressiveness would elevate her performance to another level. A level she has all the technique to attain.
Pacific Northwest Ballet principal dancers Lesley Rausch and James Kirby Rogers in Peter Boal’s staging of “Giselle” – Photo © Angela Sterling
When the sixteen Wilis enter the stage, they are swathed in white with long bridal veils shrouding their figures. These are swept into the rafters in one fell swoop as if ghosts ascending to heaven, leaving the Wilis behind to dance. This brought an audible gasp from the audience. The corps de ballet again was excellent, clean, precise and menacing. Devious men look out.
The lover’s adagio is filled with tender pathos as Giselle and Albrecht realize that they will never be. Danced with great skill, I found myself surprisingly moved as Giselle descends to her grave and Albrecht is left alone.
Pacific Nnorthwest Ballet principal dancers Lesley Rausch and James Kirby Rogers with company dancers in Peter Boal’s staging of “Giselle” in Peter Boal’s staging of Giselle – Photo © Angela Sterling
The PNB orchestra exerts its magic as usual with the expert conducting of Emil de Cou and splendid playing by viola soloist Alexander Grimes.
This “old fashioned” ballet gives us a glimpse into the past and the work of the great masters of the time. I’m grateful that PNB has kept this production in their already brilliant canon of ballets and as always, I look forward to whatever they do next. Preljocaj?
Additional Credits:
Wilis: Natalie Allenton, Malena Ani, Emerson Boll, Natalia Burns, Ashton Edwards, Celena Fornell, Emma Greenawalt, Melisa Guilliams, Rosalyn Hutsell, Audrey Malek, Juliet Prine, Ava Schandlbauer, Yuki Takahashi, Genevieve Waldorf, Lily Wills and Destiny Wimpye.
Moyna, a Wili, Clara Ruf Maldonado
Zuleme, a Wili, Madison Rayn Abeo
And the PNB Company members and students.
For more information about Pacific Northwest Ballet, please visit their website.
Written by Tam Warner for LA Dance Chronicle.
Featured image: Pacific Northwest Ballet principal dancer Elle Macy as Myrtha, Queen of the Wilis, makes her first ghostly appearance in Peter Boal’s staging of Giselle – Photo © Angela Sterling
