As the audience settles and the conductor mounts his podium I can't help wondering if there are any budding Billy Elliots in our midst - but I'm pretty certain there are many ladies of all ages remembering their own ballet lessons! 

 This is the 50th anniversary season of the English National Ballet and they bring Artistic Director, Derek Deane's Giselle, to the Bristol Hippodrome until Saturday of this week.  There are still some seats available - I urge you to book immediately - don't miss this superb production!

 The curtain rises on the first act set outside a hotel in the Austrian Mountains - the set is magnificent with the costumes from peasants to courtiers being carefully recreated from instructions and designs extensively researched by Charles Cusick-Smith for the first production to be reset from the classical era of 1841, when it was composed, to the 1920s and initially performed in the new format during the 1940s.

 The part of Giselle is beautifully danced by petite Erina Takasashi bringing grace and style to every movement.  Giselle is loved by the local gamekeeper, Hilarion and by Count Albrecht who is disguised as a commoner, athletically played by Yat Sen Chang and Patrick Armand.  The expressive music of parisian Adolphe Adams as the peasants celebrate the grape harvest, followed by the arrival of the shooting party bring a wonderful blend of sound, colour and movement.

 Giselle's legend tells of the unrequited love, madness and death which bring Act I to a tragic end.  Excellent performances from all the dancers bring appreciative and enthusiastic applause from the audience. 

A totally contrasting scene is revealed as the curtain rises on Act II which is set on a high cliff top bathed in eerie moonlight.  Giselle's mother, Berthe (Jane Haworth) and Hilarion are visiting Giselle's grave.  Led by their queen, Myrtha (Sarah McIlroy), the spirits seek revenge on the two grieving suitors.  Hilarion and Albrecht are condemned to dance to death.  This leads naturally to a series of solos and duets giving the principal dancers much opportunity to show off their astounding prowess and skill. The coryphees and corps de ballet give perfect support. 

 There are so many elements involved in staging such a professional show - from the 47 piece orchestra to the lighting and special effects technicians, from the dancers to the costume designers and wardrobe department, from the set designer to the technical department, the composer, the choreographer, the conductor.....  This is a wonderful example of all these people, departments, sectors working together to bring pleasure and enjoyment to a delighted audience.  Whatever your age, you must see it!

 Something I would like to ask - where were all the other dancers from Act I at the curtain call?  Were they given a half day (or night) off?