Halloween is a time when people tend to show off, be it with outrageous costumes, elaborate lawn decor or simply the amount of candy one can consume in a given night.
Tulsa Ballet, in presenting the classic ghost-haunted story ballet “Giselle,” decided it wanted to show off a bit as well this Halloween weekend.
But rather than a show of wretched excess, the company instead offered up a sterling performance of this challenging work, one that demonstrated the depth and breadth of talent within its roster of dancers, their ability to embody characters and tell stories and their esprit d’ corps that makes every element of this production work to its fullest potential.
We’ve seen a number of productions of “Giselle” over the decades; the performance we experienced Friday night at the Tulsa PAC was easily one of the best, if not the best, this company has presented.
Briefly, the story of “Giselle” is a familiar one: A prince in disguise whose flirtation with an innocent young girl of lower rank ends in betrayal, madness and death.
But that’s just the first act. The second half has the title character’s two mortal suitors — a rustic gamekeeper whose earthly affections were never returned and the now-contrite prince — having to fight artfully for their lives against a phalanx of female phantoms known as “Wilis,” the spirits of spurned young women whose eternal mission is to enact revenge upon any and all men who cross their collective path.
The story’s ghostly element is one reason why “Giselle” is often programmed around this time of year, but it’s far from being a “Halloween” ballet. That might be one explanation why Friday’s opening night performance — taking place on Halloween — was presented to a distressingly sparse, but nonetheless appreciative, crowd.
Which is a pity, because in pure dance terms, Tulsa Ballet’s “Giselle,” choreographed by artistic director Marcelo Angelini, was a triumph.
Principal dancers Nao Ota and Jun Masuda were exceptional as Giselle and Albrecht. (The couple will reprise these roles for the Nov. 2 performance, with principal dancer Jaimi Cullen and newly promoted soloist Edward Truelove taking the roles for the Nov. 1 performance).
Ota captured the exuberant joy her character takes in dancing, while executing demanding, intricate pointe-work in a way that seemed effortless, and convincingly portrayed the ethereal, ghostly quality of movement of her character once she had shuffled off her mortal coil. In terms of purely classical technique, her performance was just about flawless.
Masuda gave his Albrecht an easy humor in the early scenes as he wooed the unsuspecting Giselle, which makes his betrayal sting all the more. Masuda’s Albrecht does not come off as a heartless cad. Masuda’s trademark soaring leaps and deft, sensitive partnering were on full display.
Other highlights include the Peasant pas de quatre with Cullen, Adrian Cruz, Aina Oki and Shi Jean Kim; the joyous pastoral ensembles of the first act and the gently menacing dances of the Wilis, which showcased the company’s precision; and Yuki Toda as the impervious Mythra, queen of the Wilis.
Peter Stafford Wilson, returning as the company’s principal conductor, guided the Tulsa Symphony Orchestra through a richly colored performance of the Adolph’s Adam score. The evocative sets and costumes are courtesy of the Les Grands Ballets Canadiens de Montreal.
“Giselle” continues with performances at 7:30 p.m. Saturday, Nov. 1, and 2:30 p.m. Sunday, Nov. 2. For tickets: 918-596-7111, tulsapac.com.
James Watts is a contributor to the Tulsa Flyer.
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