ABT 2025: Giselle
Devon Teuscher in Giselle. Photo: Amos Adams.
June 23, 2025, saw the third performance of American Ballet Theatre's 'Giselle.' This classic ballet demonstrated its timeless charm thanks not only to its stunning production, but the passion and ability of the evening's artists.
Dancing the title role this night was Devon Teuscher, whose effervescence carried well across the first act. Articulate in dance as well as mimed gesture, Teuscher succeeded in fleshing out her character as well as establishing the varied motifs which would return throughout the work. This was most immediately felt in her gripping mad scene, as Teuscher relived the scattered fragments of prior romantic moments with a sense of distant lunacy sufficient enough to draw pity from any heart in the audience.
Her time in the second act was as beautiful as it was ethereal as Teuscher navigated the choreography with a suitable, floating quality. After rising from her grave, she delighted with remarkably soft lifts and penchés during her tragic pas de deux with Albrecht. Teuscher made for a hauntingly captivating Giselle through her expressive and technical gifts, and much like Albrecht, the audience won't be quick to forget the emotional impact she created.
Joo Won Ahn in Giselle. Photo: Rosalie O’Connor.
Opposite her was Joo Won Ahn in the role of Count Albrecht. His interpretation carried with an affectionate charge which argued that his feelings for Giselle were more than a charade, and this translated powerfully to his soaring leaps and turns which took his variations to passionate heights during the first act. His inner conflict and guilt over Giselle's death tinged his time in the second act with a beautiful, agonized nuance which lifts during the fervor and athleticism of his later variations, and returns with crushing impact as he eventually joined Giselle in death.
In the role of Myrtha was Fangqi Li, whose delicate yet imperial demeanor served her well as the queen of the Wilis. Entering with an elegant relevé glide, she demonstrated great refinement in her symmetrical phrases and penchè arabesques. Her time amongst her ghostly subjects saw her as an effective center as the corps flowed about at the commands which came from the utterly delicate control of her port de bras.
As Hilarion, Patrick Frenette struck an excellent balance between dance and gesture as he pressed Giselle and Albrecht for the truth of their love. His time in the start of the second act gave him a chance to display his desperate, rapid spins and leaps as he tried to flee the Wilis, and Frenette took these qualities to fatal heights as his character danced himself to death.
Fangqi Li in Giselle. Photo: Rosalie O’Connor.
The corps de ballet naturally seized their time onstage, from the vivacity of act 1's village scenes and dances, to the ethereal grace of the wilis as they floated through the various figures of their choreography. Their control, even whilst veiled, saw stunning expression through the the evening, with one highlight being the crossing of the wilis as the two groups of lines passed each other in arabesque with small, elegant hops, weaving their lines with great unity and precision.
In all, this performance illuminated the aspects which make the Romantic-era work as touching as it is enduring. Everything from the structure of the dances to the beautifully-evocative staging helped transport the audience to another age and into the unfolding drama. As American Ballet Theatre readies to close their summer season, they made sure to leave the audience with an unforgettable experience.
-written by Logan Martell