Silja Schandorff & Nikolaj Hübbe:
”Giselle”
Royal Danish Ballet,
The Old Stage
October 30 & November & 2016
Following the young cast of the premiere of Schandorff’ and Hübbe’s “Giselle” the two additional casts represented experience. Gregory Dean gave the stellar performance at his best and noblest as Albrecht in the second cast, combining strong acting, bravura and partnering skills. It could look like he had studied film with Arne Villumsen from the 1979 production. The dropping of the sword when the charade is up, reminded one of Villumsen’s control of that scene. In all Dean brought everything, you would want from a danseur noble.
In third cast, Ulrik Birkkjær returned to Albrecht, which was one of his first starring role as a young dancer. He had his moments, but it was difficult to get a clear picture of his interpretation this time around.
Also on the male wing, Jonathan Chmelensky presented a dashing and sympatric Hilarion. He shared the role with young Magnus Christoffersen, who also managed to build a strong character. A fine performance in his first big leading role. Heather Dunn and Alexander Bozinoff created a charming and wells danced Pheasants Pas de Deux.
Stellar Support
The two American Principal dancers, J’aime Crandall and Holly Jean Dorger, danced the title role. Neither is what you would define as the prototype of the romantic ballerina. Both have impressed in the Russian repertoire and in neo-classical roles.
Paired by Gregory Dean, J’aime Crandall received stellar support and while she struggled with building the character of the young naive girl and the break down scene, Luckily, Dean managed to fill the scenes with love and compassion. She was much more at home in the second act, where she could showcase her lighter than light dancing skills, which suits the ghost of Giselle and together with Dean´s stylish performance made the second act the highlight of the performance.
In third cast, nobody could miss how much Holly Jean Dorger wanted to be Giselle. However, type wise it was difficult for her to be as young, as sweet and as fragile as Giselle must be. Dorger is a strong, fast and energetic dancer. While these traits help her through most of her repertoire it counteracts what Giselle must be. The partnership with Ulrik Birkkjær did not create the magic. As busy as the first act is, there is always something that will work, but in the second act, she could not reach the translucence stage. Her impressive power, normally her strongest tool, hindered her in taken the role where it should go.
A new Strategy
Crandall and Dorger are ballerinas in a company that has an historic definition of the ballerina as the romantic ballerina. Although RDB presents a wide repertoire, the crown is still on the head of the romantic ballerina. However, it does not imply that every ballerina has to be romantic.
For Crandall and Dorger it might be a happier and easier route to follow the career patterns of dancers like former principal Linda Hindberg who in the late 70ties and 80ties was a leading force with a big repertoire, without ever touching the romantic ballets. The two ballerinas have so much skill between them. Let them use their respective power and lightness in roles that really caters for their own strengths.
Photos by Costin Radu (Copyright(c) Royal Danish Ballet)
- 1.Gregory Dean as Albrecht
- 2. Holly Jean Dorger and Ulrik Birkkjær as Giselle and Albrecht
- 3. J'aimee Crandall as Giselle
I enjoy reading your blog – usually after I have seen the performance myself, so I can make my own impression first.
I often agree with your thoughts on the different plays and the dancers, except for your critics on J’aime Crandall. I watched Giselle last night where Crandall in my opinion was dancing a believable and enjoyable Giselle. I love her “lighter than light” dance as you put it, but I was also taken in by her (and Gregory Dean’s) performance in first act. I actually preferred first act for its joyfulness, tempo, and the acting.
Posted by: Birgitte F. | November 13, 2016 at 11:21 AM