RB Giselle reviews RB Giselle Performances? Hatley in reviews

I was thankful that Bruce alerted us to yesterday's cast change in 'Giselle'; the moment I knew Belinda Hatley was stepping in to replaced the injured Darcey Bussell, I dropped my other plans and dashed to Sadlers Wells for the matinee. I have long admired Hatley and wondered why she hasn't yet achieved the star status she deserves. And yesterday's performance confirmed her star status (I hope Dowell saw it).

Hatley was a marvel, a dream Giselle who will remain in my memory for a very long time. The only ticket I could get was for a seat bang in the middle of the front row of the stalls (I could have leaned over and kissed the counductor, Anthony Twiner, and very nearly did...). Now, normally I hate seats that close, but within two minutes of the start I was thanking my lucky stars; I could see the facial expressions so clearly and believe me they were important yesterday I love Peter Wright's production anyway, but this close-up view of the first-act set proved how magical, rustic and mysterious it really is. Inaki Urlezaga was Hatley's Albrecht and from his first entrance it was clear that here was no cardboard cavalier; his brisk exchanges with Wilfred (David Pickering) let us know who was in charge. And then Hatley's Giselle skipped out joyously from the cottage and we were on another planet. I have not seen dancing like this for a very long time - buoyant, clean, precise, musical, joyful but above all, EFFORTLESS. Not the slightest sign of strain showed on her face at any time, nor did she wear the fixed plastic smile adopted by others. She just looked relaxed, as if she were enjoying herself.. The work which must have gone in to produce a performance of this apparent ease can only be wondered at. She was surronded by other wonderful dance-actors; apart from Urlezaga as Albrecht, Luke Heydon was a hunky Hilarion prepared to fight for his Giselle, Rosalind Eyre was a protective Berthe, wonderfully clear in her long mime scene (though I do wonder what newcomers to 'Giselle' would make of this scene), and Elizabeth McGorian was a splendidly haughty Bathilde, nice enough but recoiling slightly at Giselle's eager touch. The Pas de Six, led by Jane Burn and Hubert Essakow was excellent. (I'd say keep an eye on hunky Shi-Ning Liu).

Hatley's mad scene was beautifully judged. Her acting was clear and crisp; we knew without any doubt that she had stabbed herself with the sword because she 'bled'; in her few moments of lucidity she was embarrassed by the blood and wiped her hands furtively on her skirt. The curtain fell on a high emotional note with the grief-ridden Albrecht being dragged away from Giselle's lifeless body.

The magic continued in Act II. Here, the Wilis were performed by Royal Ballet students, and they were beautifully schooled, carrying off the tricky cross-stage 'hop' with confidence but, perhaps not surprisingly given their inexperience, little dramatic impact. Vanessa Palmer danced Myrtha with impressive technical brilliance and an implacably icy demeanour. Hately again demonstrated her ease with the choreography, bursting out from her 'grave' and doing those famous turning 'hopping' steps (don't know the technical term) with creamy smoothness. The pdd with Albrecht was exquisite and Urlezaga was a dream partner. In fact, he was an outstanding Albrecht, a relevation in both dancing and acting. Myrtha's assistants were danced with impressive authority by two RB students, Maiko Nishino and Anu Viheriaranta.

All in all, this was one of the best 'Giselles' I've seen in many years, and certainly it was incomparably better than the Kirov's dreary offering I saw in New York last week.