Of course, many changes have been made to the traditional choreography by subsequent stagers. Peter Wright, in his production for the Royal Ballet, and Kevin McKenzie, for American Ballet Theatre, are among those who have, so to speak, shuffled the various incidents in the first act and dealt them out in an order different from that in the original scenario. Thus, the “peasant” pas de deux, an interpolation in the original 1841 production (it always used to be called the “inset” pas de deux), is sometimes performed as an entertainment for the ducal hunting party, sometimes after they have left, and sometimes multiplied into a pas de quatre or pas de six. The hunting party, which always used to retire into Giselle’s cottage to rest and freshen up, sometimes now goes back into the woods. Hilarion’s first entrance, and his leaving gifts (a pair of pheasants, a rabbit, a bunch of flowers?) at Giselle’s cottage, is often done to the wrong music. And the order and content of his investigations into Albrecht’s true identity undergo various changes. And so on.
The PNB approach wasn't addressed specifically in the presentation; I hope it will be as the production nears. A restoration of the dramatic order and music would make this production significant in itself.