Khan’s choreography begins powerfully, with repetitive movements altering the gesture and tone of the pulsating ensemble. The backlit dancers gallop across the stage, evoking vivid imagery of Giselle’s plight, culminating in her entrapment in a suffocating mass at the end of Act One. There are striking moments of innovation in the images created, yet the lack of clear storytelling results in a confusing narrative. Without the aid of a programme, one can easily feel lost and stranded in this atmospheric world.
Vincenzo Lamagna’s score is unsettling, transitioning between the harsh mechanical sounds of the Outcasts' territory and a sweeping, cinematic sci-fi soundscape during emotional climaxes. The screeches unnerve and the score's expansiveness envelops you, at times overshadowing the performance.
Tim Yip’s brutalist design focuses our attention towards the towering and handprint covered wall, adding to the symbolism of this unforgiving world. Yip’s design does a lot of the leg work of communicating the barriers between rich and poor, at the expense of understanding the status dynamics from the characters themselves.
The performances are cohesive and powerfully held throughout. Ken Saruhashi stands out as the shapeshifting Hilarion whose body morphs with fluidity. Emma Hawes impresses as Myrtha, commanding the stage and bringing much-needed energy to the otherwise waning second act.
Khan’s Giselle is a bold reimagining for those already familiar with the ballet. However, its lack of narrative clarity may confuse newcomers, mistaking Bathilde for a mother or misinterpreting deaths, as was the case with myself.
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