In a fresh take on the classic, an all new Giselle for English National Ballet will be eagerly anticipated by both traditional balletomane audiences and contemporary audiences. Khan’s Kathak influences will mean his Giselle for the boundary-pushing ballet company will be a complete refresh of the story, moving away from the perfection of pointe shoes. His curiosity as a choreographer will see many innovations on stage for English National Ballet.
Giselle will be the company’s second collaboration with Akram Khan, lead by artistic director Tamara Rojo to shake up the traditional story that is deeply engrained in the history of classical ballet. Embedded in Romantic classicism, Giselle tells the tale of the tragedy of a girl driven mad by love and lies. Her death at the end of Act I is only the beginning: Act II is set by her grave. The revenge on her lover is at the hands of the Willis, seeing him dance to his death also.
It is clear this new take on the classic tale will be telling for the entire art form. With the move of the company to east London imminent in the next few years, Khan’s Giselle will be another keystone in the company’s history, and that of ballet too. The ballet originally premiered in 1841, and Khan’s take on it will be observed by many, his spiritual approach to dance echoed in the tale itself. As an innovator he has worked with film stars, ballerinas and artists, as well as on the 2012 Olympics opening ceremony.
The team of collaborators are set to produce a visual spectacle. Tim Yip, who worked on the design for the film Crouching Tiger, Hidden Dragon, takes on sets and costume, and composer Ben Frost will adapt the original Adolphe Adams score to be performed by the ENB Philharmonic. Ruth Little, who worked as the dramaturg on Khan’s piece Desh, will look after the narrative.