DANCE REVIEW : Coney, Ashmole Step Into ‘Giselle’

Because of an injury to another dancer, Australian Ballet principals Miranda Coney and David Ashmole stepped into the main roles of “Giselle” on Thursday, a day earlier than scheduled, at the Orange County Performing Arts Center in Costa Mesa. Ashmole replaced the injured David McAllister.

A member of the Royal Ballet of Great Britain, 1968-76, and afterwards with the Sadler’s Wells Royal Ballet, Ashmole, 41, made a dignified but mature--almost avuncular--Albrecht and appeared to find the bravura challenges of Act II particularly taxing.

He proved an attentive and caring, if somewhat restrained and coolish lover. However, his grief at Giselle’s death, especially after his cold refusal to face her after his identity was revealed, failed to ring with great credibility.

Coney proved another in the Australians’ series of Giselles as a naif verging on ninnyness. How is it that every corps member of the village looks and acts more mature than these Giselles do?

Her regression to childishness in her mad scene generated little pathos or sympathy, and at times even looked a bit silly.

But as a dancer, she compensated with glorious extensions, lightness in altitude and vivid warmth--despite the onset of Wilihood--in Act II.

Mark Brinkley offered a formidable and serious Hilarion, a man devastated by Giselle’s death and courageous in facing his fate at the hands of the Wilis.

As Myrta, the Wilis’ Queen, Michele Goullet brought rock-steadiness to her extended balances and blossoming lyricism to her slow turns.

Linda Ridgway and Steven Woodgate danced the peasant pas de deux with more eagerness and vigor than polish and finish. In fact, the company generally looked more energetic and upbeat than it had on previous nights. John Lanchbery again conducted.