The Stunning Philly Production of this Classic Ghost Story Uses Romance and Revenge to Make Ballet Fun for Everyone

Many ballet classics can speak across time thanks to their incredible athleticism and elegance. But the performances that become touchpoints in the culture at large, from The Nutcracker to Swan Lake, leave behind an artistic vision that hits us not only with visual splendor, but with psychological and emotional depth–and maybe even a little magic.

Premiering on February 29 and running through March 10, Philadelphia Ballet’s production of Giselle delivers on all these elements and is sure to become a favorite for anyone unfamiliar with the hundred-year-old classic. It’s the perfect post-Valentine’s Day tale of romance and supernatural revenge, and a grown-up fantasy for those who want to deepen their relationship with the Ballet after seeing The Nutcracker over the holidays. 

The performance is a favorite of the company’s dancers, as it requires elegant, acrobatic movement to make the ghostly tale feel as if the theater is really populated by spirits. But it’s also a great night out for both ballet veterans and new fans, as the ballet tells a modern psychological drama, clearly told through pantomimed movement and visual spectacle, about doomed love, revenge and redemption. 

“The funny thing about these stories, although it’s an old story, it’s very much like it would happen today,” says Angel Corella, artistic director at Philadelphia Ballet. “I think that it could be related to many relationships in today’s world, and how you can love someone very much when that person might not love you.”

The masterwork is being put on at a busy time for the ballet, when they are also performing their Dance Masterpieces, a collection of Corella’s favorite modern pieces. Together, the combination showcases the full range of talent on display in Philadelphia. We spoke with Corella about what it takes to put on this demanding performance during their busy spring season, and why it’s a big moment for ballet in our city.

A Timeless Tale

The tale of Giselle has a surprisingly contemporary feel in terms of the psychology of the characters. First performed in Paris in 1841, the basics of the story are of the time–a love triangle involving the courtship of the titular character. On the one side is a prince, Albrecht, who is disguising his identity, and on the other, a childhood friend, Hilarion.

But that’s where the story starts to tackle themes the modern viewer can relate to, something Corella brings out through his direction. While Giselle favors the prince, he isn’t sincere in his affections, and is in fact engaged to another. On the other hand, Hilarion, upset at being rejected, reveals the true identity of the prince and his betrothal, sending Giselle into madness. 

“There’s a lot of love in the story, but not for the right person in most cases,” Corella says. “I think that that is something that happens to all of us in this world, unfortunately.”

That madness results in Giselle’s death, and for viewers who love a ghost story, this is where the ballet enters the realm of the supernatural. Giselle comes back as a Wili, a mythical spirit of a young, betrayed woman who returns for vengeance. Together with other Wilis, she rises from her grave to dance men to death–including Albrecht. But when the prince arrives at the graveyard to express regret, and the other Wilis begin to dance, Giselle has a change of heart.

“She could have revenge and kill him at the very end because the prince goes to the cemetery to say that he’s sorry,” Corella explains. “But while he’s dancing and almost suffocating to death, she saves him.”

Corella points out, however, that modern audiences looking for justice don’t have to feel like the prince is getting off the hook–the fate Giselle leaves him to is one of regret and mourning.

“She just disappears and tells him, ‘Now you have to go on with your sorrow and with your guilt,’ which I think is even worse. Now he has to move on, knowing that the real love of his life, he killed her,” Corella says. “It’s relatable, in that sometimes people break up and they think that they’ve done the right thing, and then, later on, they realize they made a big mistake, and they have to live the rest of their lives with it. That’s the powerful part of the story, that at the end, she liberates him, but I think she’s the one that’s liberated.”

Flawless Execution

Pulling off such a rich story isn’t easy. But through Corella’s approach, even newcomers to ballet will be hooked. Even though it’s a classic, the performance acts as a great introduction to the form because, as a ballet in two acts, the first half, prior to Giselle’s death, is grounded and focuses on clearly conveying the story. Taking place in Giselle’s village, each dancer practices pantomime, acting out their reactions and emotions through their body. 

“If you’ve never seen ballet, and this is your first time, it’s very obvious what is happening in the story from how they’re moving. The first act is very earthy, the dancing is more grounded and more real. All the movements are very clear, and they’re very well presented to the audience,”  Corella says. “Giselle is one of the ballets that you need the dancers to be the strongest as actors. Because much of the dancing tells a story by itself.”

The dancers are selected and trained by Corella to be expert actors, able to convey physically the interior life of the character. That comes into play in Giselle’s dramatic descent into madness and death, where she plays out for the audience her conflict between what she believed about the prince and the reality–something that Corella notes the dancer has to be doing in her own head as well.

“I always say to the dancers, if you don’t believe it, the audience is not going to believe it,“ Corella says. “I give the dancers plenty of tools for them to understand what’s going on with her–she’s going back to everything that she’s done with him throughout the first act. And she’s going crazy thinking about the things he told her that weren’t true, and it’s all happening in front of our eyes. And that needs to be done by a very good actor.”

With the arrival of the Wilis, those who love a sense of magic in their performance will be thrilled. The dancers’ costumes and movements are so ethereal, full of graceful, athletic leaping, that the audience will think that they’re actually floating spirits. While much of the performance stays true to the classic, the performance of the dancers represents an advancement from the original.

“Dancers today can jump higher, they can lift their legs higher–the energy and the emphasis is very different than when it was created in 1841,” Corella says. “The landings and taking off have to be unnoticeable for the audience, so it looks like the dancers are floating.”

The effect is a stark change from the first half of the performance. Altogether, this creates a dynamic journey that pulls the viewer in with an engaging narrative and leaves them stunned with the imaginative potential of ballet. 

A Spring to Remember

Corella realizes that it’s not easy for his dancers to achieve the feat, and preparation for the performance involves significant physical exercise. That’s especially true because their spring season also includes Dance Masterpieces, a collection of Corella’s favorites among modern productions. Featuring works by Alvin Ailey, William Forsythe, and Twyla Tharp, the modern style of dance requires Corella to carefully construct the dancers’ training program to avoid injury. But for Corella and the dancers, the effect is worth it.

“These three ballets are three of the best ballets of modern choreography. I wanted to put together my favorites of all time,” Corella says. “The dancing is very powerful, but I wanted to put the three of them together so we can blow people’s minds.”

For those who attend Giselle and are impressed by the talent on display, Dance Masterpieces, running from March 14 through 16, makes for the perfect complement to the performance, a way to deepen their relationship to ballet and to Philadelphia Ballet in particular. As Corella notes, developing a relationship with your local arts institution gives you an experience like nothing else.

“I think that it’s a wonderful way to enjoy ballet and to introduce yourself not only to the world of ballet, but to the world of Philadelphia Ballet,” Corella says. “It’s a whole experience, getting dressed, having a drink or dinner before the show, and sharing those moments. That’s something that you can’t get by staying home and sitting in front of the TV. It’s something that only happens if you’re there.” 

This is a paid partnership between Philadelphia Ballet and Philadelphia Magazine