Marking its 10th anniversary, Akram Khan's radical reinterpretation of Giselle for English National Ballet has returned to the stage, proving its status as a work of monumental and enduring power. Premiered in 2016, this production has redefined the Romantic-era classic, transforming it into a stark, elemental tale of societal division told through movement of devastating physical force.
A Stark Reimagining of a Classic
Khan, working with dramaturge Ruth Little, boldly resets the narrative. The traditional village setting is replaced by a bleak, massive wall, designed by Tim Yip and spattered with handprints. This visual defines a world split between the gilded Landlords and the oppressed Outcasts. Giselle, portrayed with brave clarity by Emily Suzuki, belongs to the outcast community, while her lover Albrecht (James Streeter) is a wealthy interloper whose deception is exposed when his powerful fiancée visits from behind the wall.
The Outcasts are never passive. From their first appearance, pushing against the imposing barrier, they move with a surging, collective energy. Pain and anger ripple through their bodies, communicating a palpable sense of resistance. This physicality underscores Khan's focus on the oppressive structures of this imagined society.
Powerful Sound and Striking Imagery
The auditory landscape, brilliantly reinvented by Vincenzo Lamagna, weaves snatches of Adolphe Adam's original 19th-century score with layers of biting woodwind and percussion. Sound design by Yvonne Gilbert amplifies the drama. The Landlords' arrival is heralded by a blaring horn, a fusion of hunting call and factory whistle, creating a coup de theatre as the wall pivots to admit their glittering, outlandish party.
In the second act, the ghostly Wilis are reimagined as haunted figures bearing long staffs, commanded by an imperious Queen (Emma Hawes). In one of the production's most unsettling images, the Queen places a staff in Giselle's mouth, symbolising both weapon and bridle. Meanwhile, Ken Saruhashi's Hilarion brings a mocking edge, urging fellow Outcasts to dance for the Landlords' entertainment—a stomping performance laced with latent rebellion.
A Defining Legacy for UK Dance
Over the past decade, Khan's Giselle has become an international calling card for English National Ballet. Its influence has been profound, even shaping Khan's own career trajectory, ultimately leading him to wind up his own dance company to pursue more flexible collaborations. On stage, the production's impact is undiminished.
The central performances anchor the human drama within the epic scale. Suzuki's mad scene is a masterpiece of broken poise, with the Outcasts weaving tightly around her before pulling back to reveal her crumpled form. In their reunion, Suzuki and Streeter move with exquisite counterbalance, their bodies literally reaching a point of equal weight—a poignant metaphor within the brutal hierarchy of Khan's world. This remains a defining, fiercely relevant work of British contemporary ballet.
