Reviewing the American Ballet Theater: Unveiling the Works of Virginia Woolf
by Yuhua Emma Zhang
8 July 2024
As an enthusiast of innovative ballet performances, I approached “Woolf Works,” the latest endeavor of the American Ballet Theater, with curiosity. The three-act ballet, originally choreographed for the Royal Ballet by Wayne McGregor, ambitiously captures the life and works of Virginia Woolf in three acts. Unfortunately, to this reviewer, the ballet fell short of its lofty aspirations. While the performance opened with a promising visual motif - a dialogue of Woolf’s words morphing into her visage - other allusions to the central theme were difficult to follow, undermining the initial scenography. While the dancers exhibited commendable technique, the ballet’s creative direction was comparatively lackluster.
McGregor devoted each act to representing Woolf’s writings on identity, mental illness, and transformation. The program notes informed viewers that Act One, entitled “I now, I then,” refashioned biographical elements and events from Woolf’s novel, Mrs. Dalloway. However, the symbolism behind the stage choices, dominated by earthy tones and large wooden frames, often remained obscure. The repetitive use of these frames as both scenery and barriers between dancers contributed to a stagnant atmosphere. In the absence of a streamlined plot or overt metaphoric associations, the performers struggled to convey emotional ideas. The choreography, often demanding dancers to hunch over like dome-backed cockroaches, at times felt arbitrary rather than insightful, eclipsing its intended narrative of time's intertwining paths. Other movements, such as elongées of the arms and grand battements, were recycled so often as to become tedious, sidestepping the beauty and meaning found in Woolf’s writing.
Act Two, assuring us of future “Becomings,” took a darker turn visually, with a set resembling an abyss enhanced by multicolored lasers, creating a dichotomous 'before and after' effect. The juxtaposition illustrated the events of Woolf’s novel Orlando, which features a time-traveling poet. Dancers in gray-draped costumes and reflective black and gold tutus, reminiscent of plastic cupcake wrappers, moved through the divided space, ostensibly exploring themes of identity and transformation. Granted, some ideas took hold; jumping over lasers constituted jumping through gender boundaries as the male and female dancers swapped costumes, despite the vivid setup, the awkward movements appeared disconnected from the strong expressions of the dancers ranging from surprise and frustration, unable to evoke the color of Orlando’s trajectory. The continuous use of a looped musical theme did little to enhance the choreography, proving to be a grating auditory experience.
Act 2: Jake Roxander and Catherine Hurlin from the American Ballet Theater dance “Becomings” from Virginia Woolf’s “Orlando”
Act Three explored the introspective and tragic aspects of Woolf’s life, particularly her fascination with aquatic imagery as a metaphor for her mental struggles. Here, the choreography reflected the undulating narrative of Woolf’s novel The Waves, utilizing stage placements of dancers of different heights. Over a tranquil voiceover, dancers appeared lost in the choreography, wandering through movements as Woolf wandered through mental illness in her final days.
Two redeeming features of 'Woolf Works' were Max Richter's evocative score and the technical precision of the performers. Richter's music, blending orchestral richness with subtly strident electronic elements, provided eerie overtones; tender vibratros in the strings and experimental textures created a simultaneously tense and melancholic ambience. The score's ability to capture the essence of Woolf's themes of time, memory, and identity through atonal and highly unpredictable changes left the ballet's shortcomings in other areas more pronounced. Moreover, the technical aspects of the dance, including the flexibility of the performers, the lines created by their adage, and their musicality made the choreography more interesting. Each throw of the leg was perfectly timed with the beat.
The ballet’s overarching problem lay not just in its underwhelming choreographic and scenic elements. The creators neglected to educate the audience on the works portrayed. The program notes did little to clarify the connections being made on stage, leaving some of the audience alienated rather than enlightened. Thus the choreographer’s interpretation of Woolf's themes, so rich with dramatic potential, came across as a superficial tribute.
All in all, the ballet could prove a disappointing experience for those familiar with her literary genius. I would caution others from viewing the ballet lest they prefer being lost in abstraction for one hundred and forty-three minutes.
