Giselle

In Maina Gielgud’s production of this classic romantic ballet, it is the sheer strength of the ensemble of dancers, performing Marius Petipa’s (after Jean Corelli) choreography, which conveys the story’s affecting emotional resonance. The tragedy of two lovers caught in complex circumstances, in life and in death, is complemented by movement that at times evokes nature and poetic beauty, and other times raw athleticism.

Leading lady Madeleine Eastoe (who will sadly retire after the Adelaide season of Giselle) – through her mime and effortless dancing – instills in the character of Giselle innocence, kindheartedness, playfulness and determination; she elicits one of the biggest gasps from the audience when she travels from one side of the stage to the other in arabesque en pointe. The main male role of Count Albrecht is performed by Kevin Jackson, in his debut in a principal role, and he manages to capture all sides of the character – cocky, enamoured, ashamed, forlorn – but most importantly, he partners Eastoe impeccably, allowing the spotlight to stay on her. 

Other highlights include a breathtaking pas de deux from Reiko Hombo and Chengwu Guo and a mesmerising ensemble piece during one of the last scenes: in the eerie forest where Giselle is buried, the Wilis (ghostly apparitions of jilted women) and their Queen find Albrecht mourning and lure him to dance with them, the plan being to keep him dancing until he dies of exhaustion before dawn. The Wilis, resplendent in all white, use the sheer veil draped over their bodies to give the illusion of ghostliness; combined with the dark forest setting and blue lighting, this results in a haunting, hypnotising display of female power.