Review: ENGLISH NATIONAL BALLET'S GISELLE, London Coliseum

English National Ballet are undoubtedly a company in need of a decent break. Having thrilled audiences with a new take on Giselle from Akram Khan back in November, a full run of Nutcracker over the festive period, they now embark on over a dozen performances of Mary Skeaping's Giselle before they can take a well-earned breather. It certainly makes for a pleasing compare and contrast to Khan's contemporary offering too.

David Walker's luxurious designs are striking in Act One: there's a picturesque backdrop of a quaint woodland scene, and Giselle's house is authentically rustic with its wooden doors and panels. This is idyllic village life.

One could argue that Giselle is Alina Cojocaru's signature role, and her dancing here is so weightless and full of innocence she seems almost too girlish and skittish at first to be capable of bringing any depth to this love story - and yet she does. Act One is quite mime heavy even for a traditional ballet, but Cojocaru makes it all so accessible with the slightest of smiles and the most subtle of gestures. She plays the fragility and vulnerability of Giselle perfectly.

In contrast, she is supported ably by a powerful Isaac Hernandez as Albrecht (making his debut in this role). His flighty jumps and leaps are impressive enough for you to forgive his slight shortcomings in emotional depth and he is still a solid partner to Cojocaru; however, their chemistry was at times unconvincing.

There are some beautiful ensemble pieces, with the villagers coming together to crown Giselle queen of the village and celebrate with flower wreaths and tambourines. Eighteen-year-old Rina Kanehara and Emerging Dancer winner Cesar Corrales shine brightly in the peasants' pas de deux. Kanehara surely has an exciting future ahead of her - she dances so neatly and with such precision that she's a ballet pedant's dream and enormously engaging to watch. Corrales brings his characteristic energy to the stage, and the two complement each other nicely.

Act Two is an total gear change as Walker's designs take us to the desolate woodland which the ghostly Wilis, spirits of women betrayed similarly to Giselle, inhabit. The act belongs to Lauretta Summerscales who is utterly commanding as Myrtha, Queen of the Wilis. It's a demanding role, full of jetés she makes seem so effortless and yet remains so stoic. The wider corps of Wilis are impressive too - all very tight choreographically and mastering a long-held mournful stance in their ethereal winged costumes.

Mary Skeaping's interpretation of such a romantic classic very much honours the 1841 original and English National Ballet deliver a solid performance company wide. Occasionally the choreography is a little lacking, too jumpy and uneven to flow better in the early village scenes, but Act Two is wonderfully precise in its staging and it makes for very slick viewing. Rojo and co. have certainly earned a rest.

Giselle at London Coliseum until 22 January

Photo credit: Alastair Muir

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