Wayne McGregor's "Woolf Works": A Ballet Review & Analysis
Can a ballet truly capture the essence of a literary giant like Virginia Woolf? Wayne McGregor's "Woolf Works" boldly attempts to do just that, diving headfirst into the complex world of Woolf's writing and life, and the results are both captivating and, at times, divisive.
The British choreographer Wayne McGregor's "Woolf Works," a triptych inspired by Virginia Woolf, recently made its U.S. premiere at the American Ballet Theatre, sparking discussions about the art of adapting literature for the stage. Originally conceived for the Royal Ballet, "Woolf Works" has been lauded and critiqued in equal measure, a testament to its ambition and the inherent challenges of translating Woolf's impressionistic prose into the kinetic language of ballet. The work ambitiously tackles this challenge, weaving together the threads of Woolfs storytelling into the kinetic language of ballet. The ballet, which premiered at the Royal Opera House on May 11, 2015, has since seen numerous stagings, including a third run at Covent Garden, showcasing its staying power and the enduring interest in its subject matter.
| Feature | Details |
|---|---|
| Title | Wayne McGregor's "Woolf Works" |
| Type of work | Ballet (Triptych) |
| Inspired by | Virginia Woolf's life and works |
| Choreographer | Wayne McGregor |
| Key Novels Explored | Mrs. Dalloway, Orlando, The Waves |
| Original Premiere | Royal Opera House, London, May 11, 2015 |
| U.S. Premiere | American Ballet Theatre (ABT) |
| Principal Cast (Notable) | Alessandra Ferri, Devon Teuscher, James Whiteside, Catherin Hurlin, Daniel Camargo |
| Key Themes | Memory, Madness, Time, Form vs. Substance, The collision of Woolfs life and writing |
| Style | Contemporary Ballet, blending athleticism with emotional depth |
| Notable Reviews/Quotes | "In the depth and the scope of its ambitions, and in its haunting meditations on memory, madness and time" - Judith Mackrell (The Guardian) |
| Reference | Royal Opera House Website |
The ballet's genesis in 2015 saw Judith Mackrell in The Guardian describe the depth and scope of its ambitions and its haunting meditations on memory, madness and time. It's a challenge McGregor embraces, seeking not a literal retelling, but an evocation of Woolf's sensibility. This isn't a straightforward narrative; rather, it's an exploration of the themes, emotions, and the very essence of Woolf's writing.
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Wayne McGregor's ambition is evident in every aspect of "Woolf Works." It's a layered, haunting ballet, with an elegiac central performance by Alessandra Ferri, who returned from retirement to anchor the piece. The three sections draw inspiration from Woolf's landmark novels: "Mrs. Dalloway," "Orlando," and "The Waves," further enriched by elements from her letters, essays, and diaries. The work is a complex interplay of form and substance, seeking to recreate the vivid, impressionistic qualities of Woolf's prose where emotions and sensations take precedence. The ballet opens with a segment of a 1937 radio broadcast by Virginia Woolf, speaking in her characteristic tones on craftsmanship: How can we combine the old words in new orders so that they survive, so that..." This question encapsulates the core challenge of McGregor's endeavor. McGregor had previously, and with considerable success, developed his own choreographic language: intensely physical, precise, and often exploring the relationship between the body and technology. But, "Woolf Works" marks a departure. He has managed to infuse his athletic force with new emotional weight.
For many, the ballet's success hinges on its ability to capture Woolf's interior world. Her work is known for its stream of consciousness, its exploration of the complexities of the human psyche, and its challenging of narrative conventions. The ballet attempts to mirror this by creating a less literal kind of narrative. Jennifer Homans, reviewing "Woolf Works," notes that the work is based on the life and work of Virginia Woolf, and was recently given its U.S. premiere. The more "Woolf Works" is staged, the richer it seems to become, a testament to its layers and the depth of its exploration of its subject matter.
The casting also plays a significant role in shaping the audience's experience. While the initial premiere at the Royal Opera House featured a central performance by Alessandra Ferri, the American Ballet Theatre's production saw different dancers taking on key roles, bringing their unique interpretations to the work. This shift in casting allows for a re-evaluation of the work with each new staging. The U.S. premiere at the Segerstrom Center for the Arts in Costa Mesa, California, in April 2024, featuring Devon Teuscher, Catherin Hurlin, and Daniel Camargo, demonstrated the versatility of the piece and its capacity to resonate with different audiences.
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The ballets structure, mirroring the structure of Woolfs own works, is noteworthy. The triptych format, with each section dedicated to a specific novel or aspect of Woolf's life, allows for a multi-faceted exploration of the subject. "Mrs. Dalloway," for example, explores themes of time, memory, and the pressures of societal expectations. "Orlando," with its fantastical elements and exploration of gender, offers another rich layer of interpretation. The "The Waves" is a symphony of consciousness. The work is a complex interplay of form and substance, seeking to recreate the vivid, impressionistic qualities of Woolf's prose.
However, the reception of "Woolf Works" has not been universally positive. Some critics found the work to be a big, flashy, dull disappointment, particularly in the American Ballet Theatres New York premiere. Such reactions underscore the inherent challenges of adapting such complex literary works. On the other hand, the ballet has been hailed as a breakthrough. The fact that Woolf Works has started a third run at Covent Garden since its premiere in 2015, despite the interruptions, speaks volumes about its continued appeal.
Woolf Works isn't just a ballet; it's an ambitious attempt to bridge the gap between literature and dance. It invites the audience to experience Woolf's world through a new lens, weaving together the threads of her storytelling into the kinetic language of ballet. It is the mark of an instant modern classic.
Keeping in mind discussions about what makes for a good story ballet, "Woolf Works" has many promising features: a loose narrative, strong visual images, and memorable interactions. I thought as I was watching it about how broken wings and woolf works both blend the female artists with their work, which is one thing with frida kahlo, but would usually annoy me when it comes to woolf. While the casting is designed to make this explicit, the ballet's success depends on its ability to resonate with audiences familiar with Woolfs work and those new to her world.
The work's success lies in its layered and haunting quality, with the elegiac performance by Alessandra Ferri standing out. It opens with a segment of a 1937 radio broadcast by Virginia Woolf, speaking in her pinched tones on craftsmanship: how can we combine the old words in new orders so that they survive, so that. This statement encapsulates the challenge McGregor faced in reimagining Woolf. Given the sheer diversity of style and scope in her oeuvre, this aim is an ambitious one which raises high expectations, especially after its earlier success in 2015. In wayne mcgregors woolf works, virginia woolfs life and her subjects overlap, sharing the same space.
‘Woolf Works’ Review A Literary Ballet’s Missteps The New York Times
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Woolf Works, Royal Ballet review Wayne McGregor's modern classic
