London Coliseum
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The United Ukrainian Ballet is at the London Coliseum for a short run of Giselle. The company is made up of 50 dancers, currently in exile while the war with Russia continues.
Giselle is a ballet which challenges any company: the corps must be on top form, particularly in Act II, while the leads not only have to cope with the technical difficulties of some tricky solos, but also find a way to make the acting believable and not over the top.
Costumes and sets for this production have been loaned by the Birmingham Royal Ballet and the music performed by the English National Opera Orchestra, so this run has a patchwork feel about it, but one can only feel admiration for the dancers who are performing while their friends and relatives are still living in a warzone.
Christine Shevchenko was a late stand-in as Giselle, due to the indisposition of Katja Khaniukova. Shevchenko’s Giselle is sunny rather than shy, and almost too flirty in Act I. Nevertheless, her mad scene is powerful and she is delicate and forgiving in Act II. Her Albrecht was Oleksii Tiutiunnyk, tall with a commanding stage presence and impressive ballon in all his jumps.
As Myrtha, Elizaveta Gogidze bourreed across the stage beautifully, but lacked the necessary elevation for the part, and Sergei Kliachin made the most out of his role as Hilarion. The corps were – for the most part – well-drilled and displayed neat footwork.
This version, with additional choreography by Alexei Ratmansky, is somewhat unfamiliar to British audiences. There is a lot more mime than we are used to here, plus some unnecessary stage mechanics to make the Wilis look like they are flying. The addition of the musical fugue before the Act II pas de deux is intrusive and breaks the mood – there is good reason why it is rarely included in most productions nowadays. Bathilde is portrayed as a more sympathetic character, leaving the audience with the idea that Albrecht may eventually find redemption and solace with her instead of his ghostly love.
The opening night was particularly moving: before the start of the performance the English National Opera chorus took to the stage with a powerful rendition of our national anthem – with its still unfamiliar changes – and eagle-eyed audience members would have noticed that the “ER” emblem adorning the Royal Box was covered by a swathe of red material. The Ukrainian national anthem finished the night off. It was sung with passion by all the dancers on stage, some carrying the blue and yellow flag of Ukraine. (All the ticket profits are going to the Disasters Emergency Committee Ukraine Appeal and The United Ukrainian Ballet Foundation.)
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