WOOLF WORKS

Rreview by Celia Ipiotis

Translating the inner thoughts and writings of a novelist to dance has proven rich inspiration for many a choreographer. An example of that approach, Woolf Works by Wayne McGregor, premiered in 2015 with the Royal Ballet and made its way in 2024 to ABT under the artistic leadership of Susan Jaffe. More a contemplation on Virginia Woolf’s three novels Mrs. Dalloway, Orlando and The Waves than an actual physical depiction, Woolf Works is set to the sonorous, occasionally overwrought score by Max Richter.

Noting that words have their limits as a form of communication,  Woolf’s opinion holds for dance as well. Built on Alessandra Feri, one this generation’s most penetrating dramatic ballerinas, Feri returned to ABT, transforming Woolf Works with her presence. The first and and third scenes feature Feri and are the most theatrically effective. Oversized outlines of books stand like window frames against the background of projections and foreground of memories.

In yearning gestures, Feri faces away from her husband (Roman Zhurbin), leaning out of his arms towards her past. It’s a place where she, a young woman (a fluid Lea Fleytoux) engages in tender embraces that draw into a kiss with Sally — a fine Cassandra Trenary. Then there’s Herman Cornejo, another of Clarissa’s former lovers. Holding, and dropping, reaching and extending towards unanswered questions, Cornejo and Feri commune effortlessly.

This scene cross-fades into the ills of war following Septimus (a “shell shocked” soldier) and the heavy bodied Evans, (Patrick Frenette) in a heart tugging duet. All part of an impressionistic drama, the dancers swirly forward and back, in and out of consciousness. In the background, the chimes of Old Ben clang over visual projections of a night sky and clouds suspended over an old London.

The second section “Becomings” abruptly swerves into a neo futuristic environment amped up with arena-style lasers against a dark background. Elastic extensions snap into stiff turns, spit jumps and acrobatic duets in this high octane section. Tartly defined by same sex partnering, the fantasy cum gothic Tudor style costumes by Mortiz Jung add to the dismembered aesthetic.

Large waves break across the back of the Met Opera stage (film design by Ravi Deepres)  in “Tuesday,” the third section of Woolf Works. Ferri, Cornejo and Shevchenko lead the cast in the final, nostalgic review of a life inspired by love and suspended in madness. Indeed, Feri knows precisely how to magnify the most intimate gesture into a  world of expression. Virginia Woolf would approve.

EYE ON THE ARTS, NY — Celia Ipiotis