ABT Woolf Works Met 2024

[abatt]

Murphy is sometimes underestimated in dramatic works.  Her performances in Fall River Legend and Pillar of Fire over the years have been masterful and very memorable.  Glad to hear she did well in Woolf Works.

[California]

How do ticket sales look? (although there were many specials to friends and others)

[Mary Mellowdew]

I read elsewhere that the theater was about 1/4 full at Wednesday matinee and that there were some boos at the end. Don't know how accurate that is.

[matilda]

I saw Woolf Works last night. I went in with an open mind since the NYC reviews have been so mixed, and I was pleasantly surprised. I don't think Hee Seo could have been more perfect as the lead, with her hyper-flexible movement and ability to emote. She gave a devastating performance. When the curtain went down on the "Waves" sequence at the end, people immediately stood up and cheered. So the audience reception was extremely positive, at least last night. The third act in particular, with the corps forming "waves" that move and carry the Virginia character around as she contemplates suicide, was hauntingly beautiful and featured the most compelling sections of Richter's score, in my opinion. 

My second favorite movement was Becomings. Maybe it's an age thing (I'm a millennial) but I definitely connected with the electronic night club-inspired setting. This act featured the most "pure dance" devoid of story or character, and I found it thrilling, "gumby" choreography and all. Misseldine was a standout in the Osipova role with her sleek flexibility. It was hard to make out who others were, but thanks to the poster above who mentioned Andrew Robare's solo in the Wednesday matinee, I was able to identify him as well. Very promising dancer! I wish ABT had more for these young talents to do. 

The first act, inspired by Mrs. Dalloway, was my least favorite, but it still had some impressive dancing. Watching this act, I was a little worried we were in a for a "Like Water for Chocolate" mime-drama. But Fanqi Li looked terrific as young Clarissa, commanding the stage and holding her own next to Skylar Brandt (as Sally). I'm always mixed on Calvin Royal, but he was excellent as Septimus and was able to convey the character's PTSD state through movement. 

So, overall I think this was a success. I understand why not everyone likes it, and that's fine. But I do think the New York Times review was overly critical in a way that bordered on cruelty. A shame, because there are a lot of people in New York who probably would like this work who don't normally go to the ballet. I wish the company had been able to market it better. 

Edited June 28 by matilda

[abatt]

I was in the balcony last night.  It was perhaps 40 percent sold, maybe a little less.   Attendance is poor.

Seo did a fantastic job.  She has more flexibility and stretch than Ferri for obvious reasons.  And she certainly had the dramatic presence for the role.  The final section is harrowing and haunting. Bell was also excellent.

The middle section is clearly the audience favorite.   In my opinion it could be a stand alone ballet because it is so different from the other two sections.

Royal was very expressive in the first act.  I preferred Roxander in the other cast over Frenette.  There is one scene where that character has to spin around Septimus.  Roxander did this with blinding and memorable speed.  Frenette was much slower. 

Misseldine was terrific in act II.  Her very long limbs were perfect for the hyper-extension of the role.  The second act, though, needs some editing.

 

 

 

[Royal Blue]

On 6/26/2024 at 11:46 AM, MarzipanShepherdess said:

Saw the Tuesday NY premiere of Woolf Works. Mixed feelings about it, but I'm glad they've brought it into their rep and definitely want to see it again.

One reason I want to see it again is to be able to approach it with recalibrated expectations. I love Woolf and while I think it's definitely helpful to know the plot of Mrs Dalloway to see this work, the second and third acts have only the loosest relationship to Orlando and The Waves. On first viewing I felt disappointed and puzzled that the second and third acts didn't capture the spirit of their stated inspirations more, which I'm sure inhibited me from appreciating what was there to enjoy. 

Act I: Ferri and Cornejo were absolutely fantastic in this.  I agree with @abatt and @WLH that the ABT dancer who could best do this justice would be Hee Seo. Ferri brought such interiority and charisma: she held the stage even when not in motion. Cornejo was both a whirlwind (I marvel at how much speed he still has) and a wonderful partner to Ferri. Lea Fleytoux deserves accolades for her performance as Young Clarissa, she brought so much energy and grace. I'd love to see her getting the same kinds of opportunities SunMi is getting, she deserves them. Roxander was astonishing as Evans. He and Camargo's dancing together was great. 

Act II:  Orlando is such a lush, sensuous book but this isn't what seems to have captured McGregor's attention.  The staging and music felt quite cold and futuristic to me, with a low-lit, hazy bare stage and lots of lighting effects. I didn't like it as a representation of Orlando, but there is much to enjoy in the choreography though I think McGregor exhausts his ideas and would have benefitted from trimming it. Hurlin was wonderful, bringing a lushness to the final pas de deux especially that felt like a new high for a dancer know best for her speed ("Hurricane Hurlin"). People seemed to LOVE this act: big applause, lots of excited exclamations in my section of the theater.

Act III: This is really more of a dramatization of Woolf's suicide than a representation of the Waves. It opens with a recording of Gillian Anderson reading the entirety of Woolf's suicide note, which I felt was a pretty heavy-handed, gratuitous artistic choice.  As dance, though, it was beautiful. Ferri was moving, as was Cornejo in the tenderness of his partnering. It is quite a sad note to end the evening on. I would have preferred "Becomings" to close out the evening, which I think would have been in the spirit of Woolf's work, in which humanity goes on beyond the confines of any individual life.

I can't help but feel there's a bit of a missed opportunity here. Obviously Woolf did kill herself, but her work has so much joy, sensuality, humor, and liveliness. That comes through very little here. I wish McGregor had thought more about what she wrote and less about her suicide.

 

[For proper context, I quoted the entire post. My comment focuses on the sentence I highlighted.]

 

What is the connection of one's self to humanity? Is the individual more important than humanity, or the other way around? An uncompromising stance in favor of either proposition leads to the objectification of people and potentially abominable thought and conduct. The only way to show respect for either the individual or humanity is to show respect for both. The act of taking an interest in Virginia Woolf and reading or wanting to read one of her novels is an acknowledgement of—and mark of respect for—her uniqueness. Consequently, it is inhuman and unreasonable not to also evince interest in her life, including her mental illness and suicide. And at the same time, one must reflect on the reasons for her high literary reputation. For instance, what are her observations about individual life and humanity at large in Mrs. Dalloway, Orlando and The Waves? And will different readers perceive and interpret these novels the same way? Furthermore, how does a choreographer communicate all this through dance?

In my view, Woolf Works is beautiful and serious rather than morbid, and it primarily elicits interest in the author’s life and work instead of igniting some macabre fascination with her manner of death. 

The second section is absorbing since it hearkens back to the past with its Elizabethan dress and references, and with its lasers, lighting, color, type of movement, hairstyles, makeup, costume changes and music, it simultaneously catapults the imagination forward into the future. A person is led to ponder intriguing questions about time and both humanity's past and future. How was life different 450 years ago, and what are humanity's prospects in the coming times? Will it survive and thrive, and how will it change 450 years from now? What is the solitary individual to conclude about their life and its value when contemplating the "waves" of past and future humanity and such vast historical timelines? Why should they deem themselves any less precious? “Becomings" links the past, as represented in "I now, I then", with the upcoming "waves" conjured in "Tuesday". Therefore, it properly belongs in the middle of Woolf Works, a ballet that, in my opinion, manifests due respect for both the individual and humanity.   

Edited June 28 by Royal Blue

[Royal Blue]

Unsurprisingly, Woolf Works is more powerful and magnificent when performed live in the theater. All three of its segments are beautiful and moving. What startled me the most was the incredible force of the sequence for Septimus, Rezia and Evans in "I now, I then". At Wednesday's matinée, while watching Carlos Gonzalez and Melvin Lawovi perform their pas de deux, a small teardrop gathered in my right eye and trickled slowly down my cheek. There were no teardrops in the evening, but what an intense, masterful performance from Daniel Camargo as Septimus! As Evans, Jake Roxander was also excellent. Without Max Richter's compelling music, this scene would not have been so effective. Repetitiveness in choreography or music is not a concern when both movement and sound are attractive and stirring. 

There are so many opportunities for dancers in this work. I am still in the process of sorting various people who were sensational out after seeing each cast once so far. Above all, the role of Virginia Woolf/Older Clarissa is glorious. Both Gillian Murphy and Devon Teuscher took the opportunity on Wednesday to showcase their respective skills and beauty, and were simply fantastic. I had difficulty recognizing Chloe Misseldine in the Osipova role, despite admiring and knowing who I was watching. On Wednesday evening, Catherine Hurlin enriched her performance in the same part with an “Age cannot wither her, nor custom stale Her infinite variety" quality, which, needless to say, was electrifying. 

[Papagena]

I have some qualms about WW but I found the experience as a whole incredibly enriching and am still thinking about it. If it returns I'd buy tickets again in a heartbeat, and invite more casual or newbie ballet goers. I took a guest who is not a balletomane and it changed their view of ballet for the better (aka they asked about coming back to see another before the season is up).

The first act was lovely but suffered the most from Richter's score, notably during the Septimus solo. Royal had the audience in the palm of his hand and didn't need the relentless, endlessly crescendoing cello music to get his point across. This is also a section of some of the stronger choreography, and did not need so much noise. I adored the chemistry and interactions between the three women (here Lea Fleytoux, Cassandra Trenary, and Alessandra Ferri). I also felt the final section of Act I captured the essence of Mrs Dalloway's memories set in an English Garden extremely well - down to the stuffy costuming and characterization of Roman Zhurbin's Richard (he melts into roles so well that I feel he is never given a proper callout). 

Becomings was glorious, though I can see why it has proven to be the most divisive. It had a cold and curious sexual charge, almost a frantic yearning or relentless will of all 'characters' in the piece to find their way through time. Siebert calling them 'wax figures' is mind boggling to me. I found the lights tastefully done (all the complaints about strobes etc were overstated in my opinion). I agree with others suggestion it be kept as a standalone for double bills - I will never get tired of watching different dancers tear into it. In terms of music, I felt that this section was the only one where Richter's score fully worked, and that he actually made interesting artistic choices here. 

I have never heard so many people crying around me in The Met as I did last night in Act III. What else is there to say about Ferri, who can convey so much just by lifting her arm?

I'm curious as to why WW was received so well in the UK and at La Scala, but was mixed here in the US. Also I wonder how harshly we might react to some of the admittedly ridiculous classic ballets we all love if they didn't have 100+ years of nostalgia padding (not saying that WW will be around in 100 years, just that I notice many tend to approach new works with defenses up). If anyone is on the fence I highly suggest popping in for tonight's show. 

Edited June 29 by Papagena

[ABT Fan]

2 hours ago, Papagena said:

I have some qualms about WW but I found the experience as a whole incredibly enriching and am still thinking about it. If it returns I'd buy tickets again in a heartbeat, and invite more casual or newbie ballet goers. I took a guest who is not a balletomane and it changed their view of ballet for the better (aka they asked about coming back to see another before the season is up).

The first act was lovely but suffered the most from Richter's score, notably during the Septimus solo. Royal had the audience in the palm of his hand and didn't need the relentless, endlessly crescendoing cello music to get his point across. This is also a section of some of the stronger choreography, and did not need so much noise. I adored the chemistry and interactions between the three women (here Lea Fleytoux, Cassandra Trenary, and Alessandra Ferri). I also felt the final section of Act I captured the essence of Mrs Dalloway's memories set in an English Garden extremely well - down to the stuffy costuming and characterization of Roman Zhurbin's Richard (he melts into roles so well that I feel he is never given a proper callout). 

Becomings was glorious, though I can see why it has proven to be the most divisive. It had a cold and curious sexual charge, almost a frantic yearning or relentless will of all 'characters' in the piece to find their way through time. Siebert calling them 'wax figures' is mind boggling to me. I found the lights tastefully done (all the complaints about strobes etc were overstated in my opinion). I agree with others suggestion it be kept as a standalone for double bills - I will never get tired of watching different dancers tear into it. In terms of music, I felt that this section was the only one where Richter's score fully worked, and that he actually made interesting artistic choices here. 

I have never heard so many people crying around me in The Met as I did last night in Act III. What else is there to say about Ferri, who can convey so much just by lifting her arm?

I'm curious as to why WW was received so well in the UK and at La Scala, but was mixed here in the US. Also I wonder how harshly we might react to some of the admittedly ridiculous classic ballets we all love if they didn't have 100+ years of nostalgia padding (not saying that WW will be around in 100 years, just that I notice many tend to approach new works with defenses up). If anyone is on the fence I highly suggest popping in for tonight's show. 

I agree with so much of what you've written here.

It was surreal to see Ferri on stage again. Last time I saw her was about 10 years ago when she and Cornejo did a dance/theater piece called Cheri, I think, at the Baryshnikov Arts Center and I was sure that would be the last time. Although it was very tempting to pull out my phone like everyone else and record her bows, I needed to take in that moment with my naked eyes. Imagine the thrill, to say the least, of the company's young dancers getting to share the stage with such a legend? Many of them weren't even born yet during the height of her career.

As for the ballet itself - I absolutely loved it and have been thinking about it all day. I didn't even expect to like it, given the reviews here and the little clips I watched. I wish I could have seen it twice and really hope it comes back again next year. It was clear that the dancers were completely invigorated by WW and as you said, they absolutely tore into it. Fleytoux, Trenary, and Ferri were a marvelous trio in the first section and it's past time to give Fleytoux more opportunities. I did not, however, find Royal engaging as Septimus - I thought he was dramatically empty. I don't think the choreography helped - too much reaching and stretching here, it became annoying redundant. Zhurbin does not get enough kudos for sure; his acting abilities are unmatched and I am always thrilled to see him.

Becomings was my favorite section, again quite surprisingly. I am absolutely not someone who likes laser shows, but I thought the lighting effects were used brilliantly. This section was so otherworldly and wonderfully weird at times. I loved it because it was so different, but not only because it was different. I was dreading the Osipova duet - I hated it on video. I thought it was vulgar, overdone, and on the verge of looking more like an x-rated movie. I'm sure seeing this from a distance and in low lighting helped, but Hurlin was absolutely electric with a literal laser focus and I was enraptured with her and Camargo, who was so strong and in control. Hurlin and Roxander were an unlikely pair earlier in the piece, but wow, they were on fire. At this point, I think I've seen enough of Roxander to wonder if there's anything this guy cannot do, and do extremely well. It was difficult to recognize a lot of dancers with the makeup/costuming/lighting, but not Roxander. While other dancers walk onto the stage, he takes the stage. I also think Becomings would do well as a stand-along piece. I wonder if McGregor would allow that. 

Tuesday was my least favorite section. It was a very heavy drawn out death. But, when Cornejo laid Ferri down and walked away backwards, that was a gut punch. Well done. I thought the super slow moving waves on the projector were extremely effective.

Lastly, WW is a fantastic showcase for so many dancers. I can't think of any other ballet that has so much dancing, so many solos, so many dramatic possibilities. The audience looked very well sold from what I could see and the cheering at the end of Becomings and at the very end of the ballet was striking. The audience was just as invigorated as the dancers. And, I think you make a brilliant and astute point of saying how many approach new works with defenses up. 

Please bring this back again next year.

[Papagena]

1 hour ago, ABT Fan said:

I was dreading the Osipova duet - I hated it on video. I thought it was vulgar, overdone, and on the verge of looking more like an x-rated movie. I'm sure seeing this from a distance and in low lighting helped, but Hurlin was absolutely electric with a literal laser focus and I was enraptured with her and Camargo, who was so strong and in control. 

That's a really interesting point. Becomings definitely has sexual undertones (since gender and sexual discovery all play a part in Orlando), but last night it didn't feel overdone at all. I was close enough to see the central duo pretty clearly - not front row/video recording distance, but I think Osipova danced it a bit warmer, whereas Hurlin was more knife-like as you mentioned. I actually like both interpretations, and appreciate that each dancer was dancing in a way they felt most comfortable/aligned with. Now I realize that perhaps the piece is more affected by individual interpretation than I initially assumed.  
 

Quote

 Imagine the thrill, to say the least, of the company's young dancers getting to share the stage with such a legend? Many of them weren't even born yet during the height of her career.

I couldn't help but think about this in Act III, watching all the corps dancers lift her (with a touch of pre-lift anxiety in some). It was a beautiful. And what an experience of a lifetime for young Lea Fleytoux! Ferri mentioned in her IG post how much it has meant to her to work with this new generation and it showed in the generosity of her performance. 

Edited June 29 by Papagena

[LIslandArts]

I resent the unnecessary harshness the presses have been giving Woolf Works. I for one think this is a marvelous and thrilling production. Just listen to the audiences every night and look to the crowds by the stage door. No boos I can hear, but much rapturous applause.

Today’s cast was my last show, and goodness what a show. I think the ballet showcases the company beautifully. Seo and Bell’s final duets left not a dry eye anywhere around me. His artistry is growing by leaps and bounds these days. 

Another huge standout in the show was Frenette, who was fantastic in both his roles. Nothing is slowing him down despite his continued (unjustly so) job in the corps. He holds his own with every soloist and principal man in the company. The solo he did accompanied by the cello was highlight. I’ve seen him dance with Royal on many occasions, which is probably why the two of them had such moving chemistry in the first act. I’ve been critical of Royal and his technical issues in the past but in this ballet he excelled wholeheartedly.

Misseldine is undoubtedly this company’s next leading lady, as I was marveled by her in Onegin last week and by the duality she displayed in Works. Her limbs are everlasting and her finesse with complicated choreography was exceptional. Despite such different bodies, she reminds me much of her mother who I saw perform with ABT multiple times. 

I’ll admit I am not very familiar with Virginia’s writings, so from a book-to-theater standpoint I can’t speak to how it translates. But after this long watching and studying ballet I know when dancers are giving it their all and when they’re not. This cast specifically was astounding today, the strongest I saw this from week of shows. From start to finish each dancer looked invested and inspired.  

I’m missing Swan Lake next week as I will be vacationing with my family in Europe. I’ve seen this production too many times to count, back when Gillian Murphy was a young Swan Queen. Though I look forward to seeing what the consensus is. 

[abatt]

Forster and Trenary were replaced last night.  Brandt replaced Trenary in Becomings.  Zhurbin replaced Forster in Acti I.  I missed who replaced Forster in Act II.  

 

The more I see WW the more I am drawn to it.   It is thought provoking on so many levels.  I have had mixed feelings about McGregor in the past.  Hated After Rite, enjoyed Chroma.  Disliked Outlier at City Ballet.  

Seeing other casts aside from Ferri made me realize how limited overall Ferri's range of movement is at this stage.  However, she certainly has the charisma and dramatic insight for the role.

[nysusan]

On 6/26/2024 at 11:16 AM, nysusan said:

I agree that the 3rd act was very moving and that the second act was inscrutable. I don't typically dislike the kind of dancing McGregor gave us in the 2nd act but it was very hard to make anything out (except the fabulous Hurlin) and I got bored quickly.

 

I rarely change my mind completely about a ballet but I started out hating Becomings and after seeing WW three times now, I really love it. I think where I was sitting that first time had a big impact on my perspective. I was on the side (house left I think - the odd numbered side) and the action looked very scrambled and disjointed. The next 2 times I saw it from the opposite side and it looked much more cohesive. The slicked back hair and makeup still made it hard for me to identify individual dancers (especially the men) but it didn't matter. I loved the dance and the synthesis of dance, lighting and music. And ALL of the dancers were fantastic in this.  I am a big Missildine fan and she did great - so long & lean and doing justice both to the crazy acrobatic stuff and to the more adagio portions. But Hurlin was on another planet - it was like she was shot out of a canon - her energy was so high and she danced with such complete abandon.

 

In the first act I was sorry to have only seen the Camargo/Roxander duo once. I like Frenette a lot but thought C/R were so much better as Septimus and Evans - their dancing was much more expressive. I also felt that in the Hee Seo cast there was not enough differentiation between Young Clarissa and Older Clarissa. When Ferri danced the role it was very clear that sometimes she was almost out of body watching her younger self and her dancing - her way of moving, was very different from Young Clarissa.  Ferri's use of her pliancy and control of her movement created an inwardness, a calm and grave, almost ghostly effect that seemed to echo through time. Her dancing was more contained and contemplative. While Seo's movement quality was beautiful to me her dancing was too vigorous, too corporeal for the role. When not looking thru binoculars the only way I could tell the difference between Seo and Li was because I knew what their costumes looked like, there was nothing in their dancing that made it clear while with Ferri and Fleytoux it was crystal clear.

 

So I go from my first impression being mixed to negative to my final impression being mixed to positive. I still do not love the piece as a whole, but I loved parts of it.