Akram Khan's Giselle

London Coliseum - English National Ballet

Jaw-dropping power! Khan's stripped-back version of the classic 'Giselle' makes a timely statement about society. Emotion fills the theatre as actions speak louder than words.

There's something special about seeing this show in such a grand, traditional and old theatre setting. The Coliseum opened in 1904 and has been a host for a range of high-tier theatre, musicals, ballet and operas. It's the largest theatre on the West End and is a prestigious venue. Holding Akram Khan's version of 'Giselle' is something incredibly special and quite frankly revolutionary. We saw this show at Sadler's Wells back in September of 2024, but as time has passed, the state of the world has darkly altered, and this show highlights how a story such as 'Giselle' can be translated into every era. Khan's choice to strip back the glamour of the portrayal of the ballet and tell the story in such a raw and emotion-filled way speaks loudly and clearly to the huge audience. 'Giselle' was first performed in 1841 in Paris; the love story has moved wide audiences and blows them away with the beauty of the Ballet. The beauty distracts the audience from the reality of the story. A story of judgment, rules, and the class system.

Ballet tells a story that feeds the audience in a different way for each person. It's special, and when it's done well, it brings up emotion and thought in a way that is not in any way similar to a play, musical or even opera. It's interpretation and feeling. Khan's 'Giselle' is unique and is set apart from traditional ballet, not only in technique, as Khan fuses ballet and contemporary, moving away from the rules of traditional ballet, but also in the way he displays the show through production values. This adaptation tells the story in a way that highlights a timeless element of the story that is not beautiful at all. Our main character is Giselle, whilst her allure is rare, it does not change her standing in society and the boundaries that are set in place. In this adaptation, she is one of many community migrant garment workers in a factory setting. They are separated from the beautiful world by a huge wall. Giselle has attracted Albrecht, who is a son of the 'Landlords', and the two have fallen in love. The 'Landlords' are of a higher class; the two are not from the same world, and what is expected from the two does not and cannot align. Albrecht's path has been chosen; he is to marry his high society fiancée, Bathilde, and when he chooses to comply with these expectations, it breaks Giselle and leads her to her devastating death.

The emotions portrayed by the dancer's movement skills are not visibly beautiful or, at times, graceful. It paints the pain and oppression of the characters in a way that will break the audience's hearts; it's devastating. The emotion of the story is told through Khan's symbolic choreography, which is groundbreaking. Moving away from the rules of ballet also displays elements of the story. Giselle, played by Emily Suzuki in act two, switches from pointe to normal to show moving from life to death (planes of life) and also to show her connecting to characters who are not on this other worldly plane. The fall of Giselle is also a moment that isn't a beautiful death; it's a dramatic moment full of pain. The use of contemporary style in this moment also shows the difference between Giselle and the Landlords, as well as how her relationship with Albrecht has made her feel as though she can break away from the rules and expectations of her as a worker. Giving her the impression that she has more power. This portrayal also makes you question: Is it her grief over the end of the relationship that kills her, or is it the state of her reality? Does society kill her for not following the rules?

Handprints are set on the wall, and these are used to symbolise an array of interesting things. Notably, Giselle and Albrecht, played by James Streeter, use the huge wall that takes up the stage to portray the difference in their lives. Giselle tries to fit Albrecht's hands into the prints on the wall. It is clear that he does not fit, because he is worlds apart from her, and the community of dancers also dance between the two of them, creating a barrier between them. Everything on the stage, from choreography, set, sound and lighting, is symbolic and integral to the story. There is nothing that happens on the stage for a single second that does not add to or relate to the themes of the story. It's a beautiful display of hard work and a great team putting together an important and moving piece of theatre.

This show closes on the 18th, and I would move mountains to see this show right now. This year celebrates 10 years of this show, and I'm sure this will not be the last time we get to see it. Not only is it powerful, but it alter the way you look at the world. Incredibly, dance can do that. Akram Khan and the English National Ballet have worked in perfect tandem to craft a world-shaking piece of work. A dance work that will indeed go down in dance history. It's an honour to be able to watch this show. Each dancer has put an unreal amount of energy and power into their characters. Each movement is performed with attention to detail. Even through the silence, the story and emotions are clear... everything is just so raw, and you find the beauty in what they portray. Akram Khan's style is enchanting. This is a show that is NOT to be missed.