Michael Pink’s reworking of Giselle for Milwaukee Ballet may not be the most farfetched distortion of the Romantic classic. But Pink’s setting of the ballet in a 1940’s Jewish ghetto, policed by armed guards, and the mass execution of ghetto inhabitants, who then resurrect as zombie-like Wilis in white pyjamas, has likely scandalized a few.
Luz San Miguel and Davit Hovhannisyan in Michael Pink’s Giselle. (Photo: Mark Frohna)
Luz San Miguel as Giselle. (Photo: Mark Frohna)
Pink retains scenes of ineffable beauty from the traditional Coralli-Perrot production. His theatrical framing vividly paints the appalling inhumanity of the time, as well as the qualities of vengeance and mercy.
Milwaukee Ballet Company in Giselle. (Photo: Nathaniel Davauer)
Casts on both evenings received standing ovations. The face of Annia Hidalgo (2nd night Giselle) as she acknowledged the roar of the crowd was priceless: stunned, wide-eyed, overwhelmed, as if she didn’t realize where she was or what she had done. She seemed to be coming out of a trance. A truly great Giselle will do that to you.
