#serenade

yeah, i agree, front to back, this thing is about Giselle. as a character, i am convinced that Giselle is never not killing herself— she doesn't do this because she detests life, but rather because she is trying to attain ever-closer contact with the Pure Form of dance— and Serenade very much shares this singular priority. the role of the corps gets expanded to radical new impulses, the important "characters" or beats of romance aren't announced to you as they might be in a classical ballet, meaning it's up to YOU to suss it out.

it's also fun how everyone onstage gets to be giselle at some point, except for arguably the Dark Angel. (she's my favorite character, she's also the one i can get a read on the least.) i would loveee to see just this role performed by someone with a vaganova background. i know that would be awkward during all the points where she has to melt back into the corps, but still. that being said, Miriam Miller, i owe you my life:

i love that there are three protagonists (Waltz Girl, Russian Girl, and Dark Angel) and i love that their names sound so goofy when you put them all together :)

Unity Phelan was FANTASTIC as Waltz Girl, i think she might be my new favorite! Indiana Woodward also did a wonderful job as the Russian Girl, but personally whenever i see this role i'm always going to be thinking of Ashley Bouder. she has ruined me for all others.

speaking of the Russian Girl, it's ironic that that's her name, because hers is some of the most distinctly american choreography that i can think of off the top of my head. lmao. anyway, people talk about how Balanchine makes you hear Tchaikovsky in a completely different way than Petipa does, and imo the Russian Girl is a perfect example. like, Petipa could never give you this:

it's a little weird to try to demonstrate with just the gif and no sound, but istg you can hear it just by looking at it.

the ENDING oh my god. i love that she dies facing into the sunlight. classic giselle behavior.