A DEMONSTRATION of masculine strength and athleticism launched English National Ballet’s appearance in a new work that aimed to give the men something to do in rehearsals while the women prepared for the female-centric main production.

Choreographer Wayne Eagling’s all male Men Y Men was set to two pacy piano pieces by Rachmaninov, arranged for orchestra by ENB’s Gavin Sutherland, which had pockets of motion that enhanced the ballet’s energy.

It was acrobatic, exciting and at times disconcerting – when seven dancers walked straight-backed across the stage as if on a conveyer belt, while the soloist performed in front.

The black, sparsely lit set contrasted with the chocolate box scenery of Giselle’s first act – half timbered buildings and a forest ceiling of leaves that you could almost imagine moving in the breeze.

Wonderful storytelling in the traditional mime style from Daria Klimentova, whose Giselle was playful and girlish during the courtship scenes, and increasing listless as she slowly died of a weak heart.

The second act had an air of Tim Burton as the Willis, the souls of jilted women, entered in cobwebby veils and danced as if controlled by strings.

They hopped, zombie-like across the stage with arms outstretched, while Giselle’s ghost, in ethereal costume, tried to prevent them from forcing her beloved Albrecht to dance himself to death.