.png)
Beverley Brommert
GISELLE is one of those works which, like Cleopatra's charms, custom can never stale: no matter how frequently staged, its aesthetic appeal and affirmative morality have remained proof against any of the proverbial contempt bred by familiarity.
When performed with the collective brio of this latest production from Cape Town City Ballet, the time-honoured classic becomes as fresh as the daisy plucked by Giselle to determine her lover's sincerity.
Opening night brought the appealing duo of Kirstel Paterson and Leusson Muniz to the fore as Giselle and Albrecht, their palpable chemistry lending conviction to portrayal of a relationship that begins with juvenile passion and ends with elegiac tenderness in the aftermath of betrayal, death and guilt.
Psychological truth to persona apart, the calibre of their dancing is in itself sufficient to delight a ballet-loving audience. The elegant athleticism of Muniz is perfectly wedded to Paterson's serene poise en pointe, eye-pleasing in partnership with well-matched lines; both are individually impressive in solo bravura performance.
Technical challenges of Petipa's choreography are navigated with confidence as the leads offer proficient execution with expressive body-language.
Act One finds them in courtship mode as she responds demurely to his amorous advances; Act Two brings the reversal of their roles as her supernatural strength is summoned to bolster his human frailty. They deliver unstintingly in both.
Hannah Ward's interpretation of Myrtha, Queen of the Wilis, ranks among the best: willowy and in regal command of her role, she dominates the stage from first bourrée to final exit, the epitome of steely authority.
A promising young dancer who shines amid Act One's festivities is Paige McElligott: partnered by the energetic Jordan Roelfze in the Peasant Pas de deux, she is springy and spirited in both solo and ensemble dancing - a talent to be watched in future.
Bravi to the musicians of UCT's Symphony Orchestra, whose youthful commitment is sympathetically directed into cohesive performance by Brandon Phillips. Their contribution to the pervasive vigour of this GISELLE should not be underestimated.
Evoking first the mellowness of ripe autumn celebrated with rustic verve, then the chill of ethereal penumbra in a haunted moonlit forest, sets by Peter Cazalet and lighting designed by Faheem Bardien capture every requisite nuance.
Tracey Li and her artistic team have done sterling service to this evergreen masterpiece of classical ballet. Encore, please.
While GISELLE is already sold out, the good news is that Cape Town City Ballet will be bringing their Summer Season to a thrilling close with a double bill featuring the ‘Raymonda Pas de Dix’ & Dane Hurst’s ‘Requiem’. It will be onstage at the Artscape Theatre from 21 to 23 March 2024. Tickets can be booked online through Webtickets.