Sunday, May 26

Giselle Remix – Pleasance Theatre

Giselle Remix leaves you feeling inspired.

Dare I say hopeful and courageous?

You don’t have to be gay or queer or pining for unrequited love.

You come for the debauchery of cabaret but stay for the heart wrenching poetry of Raison d’être of life.

Giselle Remix arrives at the Pleasance Theatre after a sold-out premiere at the Royal Opera House. Giselle, considered a masterwork of the classical ballet canon created in 1841, has been brought to many a stage in the past 183 years. This brainchild of the Pleasance Associate Artist Jack Sears and Royal Ballet Soloist Hannah Grennell has created a rapturous thunderclap in its universality of emotions and expression that is timeless.

Before anyone comes on stage, the lights and orchestra fill it up. The music of an era gone by fills up the stage. We have the gorgeous Kit Green (Jonny Woo (@jonnywoouk) and Lavinia Co-op (@laviniacoop) as guest star performers; alternating appearances across the three-week run) play with us with gum boots, socks and soaking raincoats. I’ll let you experience the rest from the front seats of the house. What begins as a tease, comedy, and satire dwells on an old love story. The dilemma of being in love with the idea of love but not falling in love.

The cast of the dancer troupe with Jack Sears supported by Harri Eiffert (@harrijames_eiffert), Elle Fierce (@ellellle), Spike King (@spikeking) and Marie Astrid Mence (@marie_astrid_mence) brings the vision alive. Their exploration through ballet and contemporary dance of the raw emotions of love, lust, revenge, redemption and forgiveness gives wings to this piece. Hold on to them, Giselle!

The frosting on the cake is the expertly edited dialogue interspersing the lip-synched soundtrack, one moment reflecting on how folks feel reassured about themselves by being able to spot queers to another moment demanding Gay Rights Now! The one image I would have them reconsider is of a wholly covered figure in black having cultural realities that trigger unkind references in the context of the text with the image.

The lasting image of the show I take with me is of coming as one but standing for a thousand. The lights, the choreography, and the tapestry of this production have us witnessing artists who have given their all. Yes, to more electrifying productions centering the voices of those most marginalised so that we can reflect the voices and witness the bodies of the most emancipated.

Playing until 27th April,

Reviewer: Anisha Pucadyil

Reviewed: 12th April 2024

North West End UK Rating:

Rating: 5 out of 5.