Interludes

THE HANGOVER REPORT – Ballet Theatre takes on WOOLF WORKS, Wayne McGregor’s abstract meditation on Virginia Woolf and her novels

• By drediman
• June 30, 2024
• No Comments

This past week at the Metropolitan Opera House, I attended American Ballet Theatre’s highly anticipated new production of Woolf Works, Wayne McGregor’s full length dance piece based on a trio of novels by Virginia Woolf — Mrs. Dalloway, Orlando, and The Waves. Originally presented in 2015 to great acclaim by the Royal Ballet in London, the piece is a decidedly abstract take on these deeply idiosyncratic works of literature, which at times weaves in biographical elements of Woolf’s own life (to do so, McGregor has also tapped into her letters, essays, and diaries), creating a dynamic and intimate interplay between the famously troubled author her writing.

Set to Max Richter’s emotive and smartly amplified original score — so central in establishing the work’s overarching mood and atmosphere — the evening is comprised of three clearly distinct segments, each inspired by the three aforementioned novels, beginning with “I now, I then” (from Mrs. Dalloway). The most literal choreographic transcription of the three, this opener soulfully portrays the delicate inner lives of the novel’s characters, particularly as it relates to their relationship with memory and mental illness. At one point, Woolf herself makes an appearance, dancing a devastating pas de deux with the suicidal, shell-shocked soldier Septimus, thereby foreshadowing the author’s own end.

Woolf Works continues with “Becomings” (from Orlando), which explodes the introspective tone of “I now, I then” into a wide-angle kaleidoscope across epochs, past and future, in which the only thing constant is evolution and change. Driven by Richter’s surging, largely electronic music and pierced by sculptural, fourth wall shattering lighting design, the segment leans in on the inexplicable mysteries and fantastical elements of the novel, resulting in a thrillingly visceral ensemble piece depicting time as it literally spins out of control. Suffice to say, it’s a relentless, startling coup that’s likely to leave audiences breathless (while watching it, I was reminded of Twyla Tharp’s In the Upper Room).

The evening concludes with the meditative “Tuesday” (from The Waves), which is largely focused on Woolf’s suicide. Once again, Richter’s score — now extravagantly signaling a sense of loneliness and purposeful resignation — artfully sets the stage for McGregor’s gently and poetically eloquent choreography, evoking waves (not just literal waves, but also waves of memory and uncontrollable feeling) as they engulf the tragic heroine to her serene end. It’s a poignant way of tying up the evening after the unresolved emotional turbulence of “I now, I then” and the shameless stimulation of “Becomings”.

At the performance I attended, the dancing was consistently excellent throughout. As Woolf and Older Clarissa, beautifully trained principal Hee Seo gave a heartfelt, emotionally transparent performance that showed off her sensitivity as both dancer and actress. Other standouts included Aran Bell, who danced with style and quiet strength in (like Seo) both the first and third pieces, as well as Calvin Royal III, whose mental breakdown as Septimus couldn’t have been more harrowing and heartbreaking. Special mentioned must also go to soloist Chloe Misseldine — a fast-rising star in the company — who stunned with her poise and breathtaking extensions in a brief but eye-catching appearance in “Becomings”.

HIGHLY RECOMMENDED

WOOLF WORKS
Dance
American Ballet Theatre at the Metropolitan Opera House
2 hours, 25 minutes (with two intermissions)
Through June 29 (ABT’s summer season concludes on July 20)