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Always a popular dancer, this newest British principal didn’t disappoint his many fans and showed that he has the potential to make the role one of his best. In the first all-important moments of the ballet where characterization is established, we saw this cloaked Albrecht run on at full pelt towards Giselle’s cottage, ready to waken her and call her outside and it was only the level headedness of his squire and friend Wilfred (ably performed by Bennet Gartside) that put a halt to his reckless impetuosity. Though Watson’s acting can be somewhat bland with textbook reactions at dramatic moments, he stamped his own individuality on this role, showing us a caring, go-getter hero who doesn’t think past the present, but is eager to play, to please, to woo and to win. His own cheeky Prince Harry grin and candid expression implied that Albrecht honestly believed that no one will ever find out what he was up to.

Certainly Watson’s Count has all the physical hallmarks for stealing the heart of a gullible peasant girl – a regal bearing, aristocratic good looks with a clearly defined profile and high cheek bones, and a well-proportioned body with long slim legs and pointed feet to die for. His dancing offers a high jump with soft feline landings and wonderful extensions in jetes and arabesques. Watson still has a tendency at times to hunch his shoulders with tension and could work more on his plain walking –there was just a bit too much of a swagger! He is tall, in contrast to his Giselle Leanne Benjamin whose own tiny frame and will-o-the-wisp fragility in turn contrasted with the self assured, stately stature of Isabel McMeekan’s Bathilde, his intended. And with his own youthful appearance, Watson’s interpretation gave credence to the fact that Albrecht was not interested in, nor ready for an arranged marriage to this frosty fiancee— his warm-blooded dalliance in the woodlands was much more fun, and he had plenty of wild oats to sow.

Benjamin is a natural Giselle and is very much at ease in the role, so her experience must have been a great help and support to Watson. She possesses technique that is fluid and precise, yet strong, and her acting is bold and convincing. As a Wili in Act 2, she was as weightless as a soufflé, appearing to float through Albrecht’s outstretched arms, while her solos showed gossamer lightness in her steady, unfolding developpes and diagonal jetes. The two principals performed well together, complementing each other’s assets and with Watson lifting and partnering strongly.
 

The bouree bonus prize goes to Marianela Nunez ‘s Myrtha who sped across the hoar-frosted graveyard as smoothly as on ice-skates. Nunez’ interpretation conveyed the iciness towards, and abhorrence of all faithless men, but her demeanor seemed to melt just slightly with awe at the dedication and determination shown by the two lovers.

Good characterization came from Sandra Conley who, as always, gave us an excellent Berthe with clear mime and motherly concern. McMeekhan offered a full interpretation of a somewhat snooty Bathilde who was obviously not keen on mixing with the locals, was fed up with the men and their sport, repulsed by their shooting trophies, and was most disdainful of the bird handler who stood behind her. The afternoon performance also saw some different and somewhat unusual character acting –and one wonders what Sir Peter, who was in the audience, thought of them. First, this young Albrecht couldn’t keep his paws off Giselle and touched or kissed her whenever she was near, (Watson needs to discover that just as much emotion can be expressed through stillness and eye contact), while the Leader of the Hunt, (Joshua Tuifua) became somewhat buffoonish with the village girls, jumping in surprise when he found himself surrounded by them.

The company appeared in fine form with enjoyable peasant dances and nice straight lines by the Wilis in Act 2, though throughout the afternoon, the tempi from the orchestra pit seemed somewhat erratic. The Pas de Six, led by a bouncy and joyful Ricardo Cervera and Laura Morera, and included Samantha Raine, Caroline Duprot Zachary Faruque and Steven McRae, was enthusiastically danced, and showed off their good training. And at the curtain calls, the loud applause and cheering confirmed that the audience approved of the performance and of Watson’s debut.