Review: Giselle

by Jakes Lotriet

Joburg Ballet celebrates 175th Anniversary of Giselle in stellar production

The mere thought of attending my first ballet and the subsequent review, evoked some feelings of fear and trepidation within me. Would a production of this nature, consisting of interpretive dance sequences and classical music be able to relay a story, without any dialogue, contained therein? Would I be able to interpret and form a holistic view of what would unfold before me on stage?

Let me dispel this misconception regarding ballet in one swift stroke. The answer is a resounding yes! Any seasoned ballet aficionado would of course attest to this statement. I just had to sit back, relax and relinquish all ties that bind me to my everyday existence, by immersing myself into a magical world of make believe… In front of me, the curtain was about to lift on Joburg Ballet’s stellar production of Giselle…

This ballet is an enchanting world comprising of fluid-like, precision movement, set against striking lifelike scenic backdrops and imaginative stage décor. No ballet would be complete without one crucial element: sweeping classical music.   All these attributes come together in one seamless production that make up this fine art form.

Kudos to the visionary production team, under the artistic direction of Iain MacDonald, and the world class Joburg Ballet Company for realising this classical ballet on such a powerful scale. The choreography was adapted for this stage presentation by MacDonald himself, assisted by Lauren Dixon-Seager, Michael Revie, Elena Cangas and Burnise Silvius.  The very effective lighting design, was courtesy of the creative Simon King.

This moving story of a girl, Giselle, who dies of a broken heart, is a ballet performed in two very contrasting acts. Act one is set in the heart of a Rhineland village, adorned with old cottages and the splendour of the grape harvest’s ending, being depicted, basking in soft hues of golden stage lighting. The antithesis between the two acts is quite striking and brought to the fore in the second act. In this act, we are met with an eeriness that descends onto the theatre, accentuated by the setting – a lake surrounded by a dark forest, enveloped by a thick layer of fog. An undertone of sweet melancholy exists. The stage is set, or is it?

On opening night, Shannon Glover portrayed the role of Giselle, who first made her debut in this role, in 2009. This principal ballerina from Durban added to the elegance, the style and character, with amazing flexibility and poise. Opposite Glover, was Juan Carlos Osma, who was dancing the role of Loys. Osma embodied the svelteness of his routines and is a ballerino deserving of this praise.

In most ballets the intrigue of a love-triangle is core to the plot of the story and in Giselle, there is no exception. Alongside Loys, fighting for Giselle’s affection, was Hilarion, played by the very talented Jonathan Rodrigues. In the story, he unmasks Loys for who he really is, expressing himself in his masculine and forceful repertoire. Personally, Rodrigues’s passion and dedication to his role was evident, and a true contributor to the emotions in his dancing routine.

Strikingly apparent in this production, was a delicate blend of subtle acting, entwined with spirited, yet graceful movements. Precision is key in a production such as this and Giselle did not disappoint. Starting in the first act, the mellifluous sounds of the classical music this ballet is set to, slowly sweeps you along, and then… nothing can prepare the audience for what is about to unfold in the second act…

Myrthe, Queen of the Wilis, displayed as small figures of jilted girls who have all died before their wedding day, all decked out in white, appeared in what can only be described as a menacing display of little ghosts, dropping from the ceiling, on demi-pointe around the wings. This scene was breath-taking, as was their perfectly sequenced movements, in an effort to appease their Queen, played by Claudia Monja.

Monja’s enactment of this role was forceful and commanding, yet carefully executed to manipulate the majestic dominance of her character. She wielded her spell in a seemingly effortless manner over her subjects, until their powers fade, with dawn approaching. The ghost of Giselle, whom until now has done everything to protect Loys from Myrthe, sadly also drifted away into the thin air.

In celebrating its 175^th anniversary, this production of Giselle by Joburg Ballet, is without a doubt doing justice to the production, which had its first premiere in 1841. This production is a must see experience, and on the Nelson Mandela stage at the Joburg Theatre Complex until the 17^th of April.

So, my inaugural ballet experience was concluded and I cannot wait to see what magic Joburg Ballet will showcase next…

*Photos in this review were taken by Lauge Sorensen