If there is one signature phrase of choreography in “Giselle,” it is Giselle’s hopping across the stage, perfectly balanced, on one toe shoe point, and then whipping around the stage in pirouettes.
Misa Kuranaga performed this perfectly at last Thursday’s 7 p.m. dress rehearsal of the Oklahoma City Ballet’s production of “Giselle” at the Civic Center Music Hall. She, with James Whiteside as Prince Albrecht, was a guest artist from the Boston Ballet in Oklahoma City Ballet’s historic classical ballet offering this season.
Act I was a happy peasant dance - always a treat. But Thursday evening’s Act II, as restaged by ballet master Jacob Sparso, and choreographed after Jean Coralli and Jules Perrot, was the emotional, technical and performance center of the evening.
The company was a pleasure to watch in the second act of the full-length story ballet that was premiered in Paris in l841.
Of special note were Stephanie Foraker and Cyrstal Wellman in solos as Wilis — vengeful female spirits who were scorned by their lovers and died before their wedding day.
The Wilis were well danced by Darli Iakovleva, Audrey Johnston, Samantha Kropp, Kenzi Lockwood, Callye McCollum Grace Medaugh, Amy-Jo O’Neill, Shannon Yee, Amanda Herd, Jennifer Haddock, Hannah Jew and Anna Doss.
Anton Iakovlev’s performance of Hilarion with the slicked down hair and loutish posture of Giselle’s unsuccessful suitor left no surprise that the Wilis danced him into the lake where he drowned.
Crystal Wellman and Ronnie Underwood danced well the peasant pas de deux in Act I.
From the instant Myrtha, Queen of the Wilis, danced by Emily Fine, snatched off Giselle’s veil, Act II was Kuranaga’s. She stood on one foot and raised the other to a point far above her head in a white tulle costume with a romantic mid-calf length tutu.
Kuranga’s emotional understanding of forgiving Albrecht and interceding with the Wilis for him was the high point of the evening.
Giselle’s spirit had rejected him at her grave until he begged for forgiveness. She accepted it. As Kuranaga’s protective spirit embraced Whiteside, she gave Giselle the real power of the ballet.
And then, Kuranga and Whiteside danced for the joy of dancing , love and forgiveness, performing several mirrored jumps and leaps that reflected each other impressively in shape and sound when they completed the leaps.
Whiteside performed his Act II athletic solos well – entre chat six jumps when he beat his legs together in the air, changing from front to back fifth position, and cabrioles – leaps with both legs backward or forward, opening 15 to 25 degrees, and was a romantic presence at Giselle’s grave. There is more to look forward to as he develops more flare in the demanding role.
Douglas Droste conducted the Oklahoma City Philharmonic in a very good performance of Adolphe Adam’s score arranged by John Launchbury for American Ballet Theatre. Droste began conducting performances with the Oklahoma City Ballet this season (from program notes.) Droste is director of orchestral studies at Oklahoma State University.
Dale Hall did the lighting design. The sets and costumes were courtesy of the Eugene Ballet Company, Eugene, Oregon.
