African offering of ‘Giselle’ truly magnificent
out her noble-born lover, Albrecht, is already engaged. The Wilis – the ghosts of women who like her have loved and lost – then punish her lover for his unfaithfulness, forcing him to dance to the death, but Giselle’s love redeems him.
Masilo translates this to Africa with Myrthe, Queen of the Wilis, now a (male) sangoma and Giselle no pale victim.
As balletomanes now expect from Masilo, there is fire and passion. This production suggests that if Albrecht and Giselle’s other suitor, Hilarion, live up to the trope #MenAreTrash then, actually, why should women forgive them?
Don’t forget also that men can be betrayed and Masilo not only makes Myrthe (danced by Llewellyn Mnguni) a man, but one or two of the lost Wili souls as well. The pas de deux between Giselle and Albrecht (Kyle Rossouw) are simply gorgeous.
Their love is doomed however and the first half ends with Giselle’s funeral. The second half immediately ramps up the drama as the Wilis converge on their prey. Their oxblood-red costumes, along with striking lighting by Suzette le Sueur, add immeasurably to the atmosphere, as do the backdrops drawn by William Kentridge.
The music is also different to the original and an electrifying new score by Philip Miller channels the music towards Africa.
Masilo pairs this with vigorous movements – a far cry from the ethereal original but fitting for weeping maidens have morphed earthy avengers.
She also bares Giselle’s breasts (totally appropriate for this heroine) and makes the rivalry between Hilarion and Albrecht full of swagger, aggression and swearing. The mixture of voice and dance adds a contemporary punch to the ballet.
It remains a tragic tale, however, and the drums inexorably compel the faithless men to pay for their sins. Bravo, Dada! — Gillian McAinsh who into