English National Ballet have been in the studio with Beryl Grey rehearsing their Mary Skeaping Giselle production which was first premiered back in 1971. Here are some quotes from the companies latest generation of dancers as they were busy getting their bodies and minds into gear for one of the most popular ballets of the 19 century. Studio pictures are by John Ross and taken from a photoshoot - see more in the Gallery area on Ballet.co.
"For me it's really exciting to be doing a 'new' production - and one which is closer to the original. Giselle has a great story and I love following the story instead of just dancing - I can think of telling the story with the choreography."
Erina Takahashi
Erina Takahashi in the ENB studio
© John Ross
"I've never danced either Queen of the Wilis or Giselle before [Simone is replacing Sarah McIlroy, who is injured, as Giselle] so it's a big challenge. I've seen lots of productions and I honestly think this Queen of the Wilis is the hardest I've ever seen! Even Giselle is more challenging than usual because there are lots of extra bits. My partner is Arionel who is much taller than me, but this isn't a problem because there actually isn't that much partnering in the ballet - nothing in Act I and very little in Act II. Giselle doesn't do physical contact! The mime is hard to master but Dame Beryl has come out with some great points - style is essential in this ballet because it's the story that really matters."
Simone Clarke
Simone Clarke in the studio
© John Ross
"In the beginning I was quite sceptical about what I thought was a very old-fashioned production, but in fact when Dame Beryl came in and explained it to us I understood why Mary Skeaping wanted to get as close to the original as possible, and now I actually think it's one of the jewels in English National Ballet's rep. Albrecht is one of my favourite roles - from the classical and romantic traditions I think it's my favourite of all. Last time we did Giselle I only did one performance and then got injured so I'm looking forward to dancing lots of shows this time."
Yosvani Ramos
Erina Takahashi, Elisa Celis and Arionel Vargas
© Richard Haughton
© Richard Haughton
"This version of Myrtha, Queen of the Wilis is the most difficult I have ever danced! It's quite earthy - a meaty role. And it never gets any easier! But it's nice to be a pretty Myrtha - we are supposed to look beautiful but be very mean, which is more subtle than in other productions I've done and a good challenge."
Elisa Celis
"It's hard to know what I think about the production at the moment because it's all so new to me. I haven't ever danced Giselle before and it's a challenge because she's 17 - not as young as Juliet, and not yet really a woman either. Act II is easier because it's a more straightforward character. What's really hard is that in class you are really upright and straight and then you get into rehearsal and it's all about leaning forward and really curving your arms, which is working against everything we have learnt. Dame Beryl has really helped me - and she's so strong! When I took her hand I couldn't believe it!"
Fernanda Oliveira
David Wall, Dame Beryl Grey and Lynn Vella-Gatt coaching Daria Klimentova in the ENB studio
© John Ross
"It's inspiring to work with a ballerina from an era who understands the importance of style over pyrotechnics."
Desiree Ballantyne
"I get a huge sense of achievement at the end of Myrtha's long solo! Just getting through it is tough."
Jo Clarke
"It's interesting for me to realise how like Cecchetti the style is - and to see the younger dancers learning a style which isn't familiar to them."
Tamarin Stott
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