Akram Khan’s reimagining of Giselle, performed by the English National Ballet at the London Coliseum from 15–18 January 2026 (sold out), is not simply a ballet revival – it is an emotional reckoning. Intense, visceral and visually arresting, this production grips you from the first moment and refuses to loosen its hold.
From the rise of the curtain, the physicality of the dancers is astonishing. They move with such lightness and precision that they appear to float, yet every step is charged with tension. Khan’s choreography, which fuses classical ballet with contemporary movement and elements of kathak, is both muscular and lyrical. Group sequences feel almost tribal in their unity, amplifying the sense of collective struggle and suppressed rage.
The Wilis – those famously ghostly, wronged brides – are particularly striking in this version. Far from delicate romantic apparitions, they are eerie, dainty murderers in their spectral bridal dresses, exacting revenge on the men who betrayed them. Their menace is quiet but relentless, making Act Two especially chilling.
Musically, Vincenzo Lamagna’s score, adapted from Adolphe Adam’s original, is intense and powerful. Performed live by the English National Ballet Philharmonic, it pulses through the auditorium, layered with an ominous soundscape that heightens the sense of dread and inevitability. At moments, the music feels almost industrial, reinforcing the production’s modern themes of exploitation and injustice.
Visually, the set and lighting are unforgettable. Designed by Academy Award-winner Tim Yip, with lighting by Mark Henderson, the towering wall that dominates the stage is stark and oppressive. The atmosphere is unmistakably Orwellian: a world of division, control and surveillance, where freedom is curtailed and entire communities are reduced to invisibility. This loss of autonomy and humanity mirrors the themes of George Orwell’s Nineteen Eighty-Four, making the production feel disturbingly relevant.
Both acts are equally intense, rarely allowing the audience a moment to breathe. By the end of Act One, I realised I had been holding my breath for what felt like an hour – a testament to the sheer emotional force of the storytelling.
The story, reimagined
In Khan’s Giselle, the heroine is part of a community of migrant workers known as the Outcasts, separated from the wealthy Landlords by an imposing wall. Giselle falls in love with Albrecht, who infiltrates her community while concealing his true identity and his engagement to another woman. When his deception is revealed, Giselle’s heart breaks – quite literally – and she dies, joining the Wilis in the afterlife. The question that drives the final act is whether love can still redeem Albrecht from their vengeance.
This retelling places class struggle, exploitation and female rage at its core, without ever losing sight of the emotional intimacy of Giselle’s personal tragedy. It is devastating, but never gratuitous.
Key details at a glance
Production: Giselle by Akram Khan
Company: English National Ballet
Venue: London Coliseum, St Martin’s Lane
Dates: 15–18 January 2026
Running time: Approximately 1 hour 55 minutes (with one interval)
Age guidance: 10+
Music: Vincenzo Lamagna, performed live
Whether you are new to ballet or returning to a familiar classic, this Giselle is an unforgettable experience. Bold, harrowing and deeply human, it fully deserves its reputation as one of the most important dance works of the 21st century. For London families with older children and teens ready for something powerful and thought-provoking, this is not one to miss.
Monica Costa founded London Mums in September 2006 after her son Diego’s birth together with a group of mothers who felt the need of meeting up regularly to share the challenges and joys of motherhood in metropolitan and multicultural London. London Mums is the FREE and independent peer support group for mums and mumpreneurs based in London https://www.londonmumsmagazine.com and you can connect on Twitter @londonmums
