REVIEW : K-BALLET TOKYO's "Giselle" 03/16/2024
K-BALLET TOKYO's Spring Tour 2024 "Giselle" began on 16th March, 2024 in Tokyo and isn't set to end until 24th. Their current production is re-choreographed by the artistic director Tetsuya Kumakawa, the first Asian principal dancer of The Royal Ballet in the U.K., and the founder of K-BALLET TOKYO.
Kumakawa's re-production looked as if the Royal Ballet's production was brought directly to Japan. Generally, Japanese ballet companies use blue dresses for Giselle-like Russian style, but Kumakawa chose brown and yellow dress as that blends in with other peasants alike the Royal's costumes. Their costumes and stage set looked fresh here because these colours are different from other Japanese production. However, I couldn't find his originality because it is resemble the Royal's one. Having watched Kumakawa's Giselle, my impression is that his goal was to create a Royal Ballet-like stage. I felt that his ideal ballet and heart stayed in London.
Theater Orchestra Tokyo conducted by Katsuhiro Ida accentuated the performance of the ballet dancers. They lend power to otherwise less experienced dancers; and they make skilled dancers shine. Ballet without a live orchestra loses a dimension. To listen to a live orchestra playing the music was amazing, they were so talented. I was especially impressed by the violin solo of Giselle's variation in Act 1. It sounded light and beautiful.
The guest dancer Julian MacKay, Bolshoi-trained principal dancer of the Bavarian State Ballet, Germany was the opening night's Albrecht. His way of expressing the role of Albrecht (a nobleman pretending to be a peasant, who will betray Giselle in the future. He is the reason Giselle goes mad and dies of a heartbreak) looked so simple for this superficial character. However, MacKay is extremely handsome and a wonderful dancer, so the audience didn't mind Albrecht's shallow personality.
Also, in Act 2, MacKay's character only cared about himself and he didn't show regret or sadness for Giselle. He only protected himself and kept asking Wilis not to haunt and kill him.
Usually audience, especially women hate this kind of flippant character. Despite that, MacKay is handsome like a prince charming, and no one focused on that part of him. The power of a beautiful man is strong in every era.
Another guest dancer Gillian Revie, previous first soloist and the guest principal artist of The Royal Ballet played the role of Berthe, Giselle's mother. The important acting part of Berthe is protecting her daughter Giselle from death and telling the ancient story to everyone about Wilis. Young women who died before their wedding day and must spend eternity dancing. She expressed a great concern towards her weak-hearted daughter. Revie's acting left a lasting impression, because of her stern and impactful eyes, showed mother's anxiety to the fate of her daughter. Anxious and eloquent.
Her way of using eyes remind me Drosselmeyer of Thomas Whitehead, the principal character artist of the Royal Ballet, and of Yuzaburo Shimizu, English National Ballet School-trained Japanese character dancer (Antony Dowson's class graduate). Revie's ealistic British style performance is impressionable and memorable.
Saya Okubo, current soloist of the K-BALLET TOKYO, who also danced at the Dutch National Ballet for over a decade, has beautifully showed us her skill. Her acting as a peasant looked natural, expressing all conversations with various countenances and dance movements.
Also in Act 2 at the grave scene as one of the ghostly Wilis, her dancing was delicate but implacable. Okubo expressed ruthlessness and beauty with use of her upper body and long limbs like legendary Vishneva. Can't take our eyes off her graceful dancing, and we are looking forward to seeing her next performance.
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