Review: GISELLE at the Baxter Theatre Centre Is an Entrancing and Ethereal Tryst of a Ballet

I have never been as entranced by a ballet as I was by this breathtaking production of GISELLE. Set in a rustic village surrounded by a dense wood, Michael Mitchell’s set is immensely atmospheric and one feels immediately drawn into its lush depths. Wilhelm Disbergen’s exquisite lighting design aids this setting, creating a magnificent dappled effect, with light shining through the foliage in patches. This set and lighting design instantly transformed me into the world of GISELLE where I remained ensconced until the end of the production.

This beautiful ballet, about love, betrayal, forgiveness, redemption and selflessness, is expertly choreographed by Maina Gielgud, with Kirsten Isenberg as resident choreographer and senior repetiteur.

It is difficult to decide which of the two Acts I enjoyed more. Act I, in which Albrecht, a young nobleman who is already engaged, disguises himself and falls in love with Giselle, a young peasant girl with a weak heart. When Giselle eventually learns of Albrecht’s deception, she, in shock, begins dancing in a frenzy. Her heart gives out and she dies. In Act II, Giselle, now a spirit, is welcomed by the Wilis, lead by Queen Myrtha – spirits of women who were jilted and betrayed in life, and who exact their revenge on men by forcing them to dance until they die, collapsing of exhaustion. When the merciless Wilis bewitch Albrecht, forcing him into dance, Giselle, still deeply in love with the nobleman, tries to save him. But can she succeed?

Mia Coomber as Giselle is an extraordinary dancer – graceful, elegant, fluid and versatile, her pointe technique is superb. Her emotion flows through her dancing and she is a convincing and powerful leading lady.

I love that GISELLE provides standout performances not just by the leads. For example, the peasant pas de deux is superbly executed by Paige McElligot and Joshua Williams. The choreography in this pas de deux is complex and physically demanding but both McElligot and Williams are masterful in their delivery.

Gabriel Ravenscroft as Albrecht is fantastic – focused, expressive and charismatic. His descent from powerful nobleman to bewitched and defenceless pawn is excellently portrayed.

I really enjoyed the versatility of the pas de deux between Coomber and Ravenscroft, which, at times, is exquisitely gentle, possessing an airy quality. And yet, as the pair are bewitched, they become increasingly frenzied in their characterisation and choreography. There are times when Coombes looks genuinely possessed as she bobs up and down continuously.

Myrtha, the queen of the Wilis, portrayed by Leanè Theunissen is equally spectacular – regal, precise and powerful.

The Wilis, donned in magnificent white wedding gowns and veils are at once ethereal, menacing and beautiful. As they weave about the forest en pointe, they truly resemble spirits of the night. A favourite moment in Act II occurs when one of the Wilis dances en pointe across the length of the stage, in tiny, rapid steps. It truly looks as though she is gliding across the stage like a ghost – beautifully eerie.

Michael Mitchell’s costume design is also gorgeous. Sumptous and decadent fabrics for the nobleman in act I in rich greens and reds; the light and airy wedding gowns of the scorned Wilis – these costumes are the perfect accompaniment to this ballet.

Gielgud’s choreography is dazzling and extremely emotive. I felt connected and moved by this ballet often because of the amount of acting going on onstage. Gielgud has created a production in which the ballerinas have genuinely connected with the characters and the emotions thereof and this translates beautifully. As an audience member at a ballet, this was a unique experience for me and is something that I hope to see more of in ballet – that acting is prioritised to the same degree as the choreography.

 Cape Ballet Africa has delivered a truly exquisite ballet. GISELLE is a hauntingly beautiful experience, which must not be missed.