English National Ballet currently performs two versions of Giselle: Mary Skeaping’s traditional production, all romantic tutus, dutiful peasants and Adolphe Adam’s familiar music; and Akram Khan’s astonishing reworking of this popular classic.

It is Khan’s powerful work which is currently on at Sadler’s Wells in London. Created in 2016, it remains a shocking piece of theatre – listen carefully and you can still discern Adam’s melodies, but they have been invigorated by Vincenzo Lamagna. Loud and sometimes discordant, they underscore the new story of displaced migrant factory workers and their landlords.

As in the original tale, Giselle is betrayed by Albrecht who returns to his life of privilege, while she is condemned to become a Wili – not a floaty dead village maiden in a forest glade, but a spirit haunting an abandoned factory. She is joined by a group of the most terrifying Wilis you could ever imagine: dressed in rags with their long hair flowing free, they clutch large needles or canes (a nod to their former work as seamstresses) with which they kill any man who crosses their path. These Wilis are the stuff of nightmares and horror movies.

Erina Takahashi and James Streeter star in Akram Khan's Giselle. (Photo: Laurent Liotardo)

Redemption for Albrecht comes in the form of a beautiful pas de deux showing Giselle’s forgiveness and refusal to continue the Wilis’ cycle of violence and revenge. So the story is similar to the original version but the choreography is very different. Khan gives the dancers powerful steps throughout, and the group dances are particularly energetic and mesmerising. Classical vocabulary is still there, with the Wilis dancing seamlessly en pointe, but there is a weightiness about many of the steps – particularly in Act I – which is unique to Khan.

On opening night the title role was danced by Erina Takahashi and James Streeter was her Albrecht. A married couple in real life, they form an extraordinary partnership on stage. Takahashi is tiny, an exquisite dancer with the power to move with a single gesture, while Streeter brings a welcome virility to Albrecht (why hasn’t he been made a principal yet, I keep asking myself).

The English National Ballet soloists and corps are outstanding and this is a production not to be missed.