Company Premiere
Concept, Direction, and Choreography by WAYNE McGREGOR
Music by MAX RICHTER
Design by CIGUË, WE NOT I, and WAYNE McGREGOR
Costume Design by MORITZ JUNGE
Lighting Design by LUCY CARTER
Film Design by RAVI DEEPRES
Make-Up Design by KABUKI
Dramaturg UZMA HAMEED
Sound Associate CHRIS EKERS
Staged by AMANDA EYLES, MIKAELA POLLEY, and ANTOINE VEREECKEN
Associate Lighting Designer SIMON BENNISON
Commissioned by The Royal Ballet.
Woolf Works was first performed by The Royal Ballet at the Royal Opera House, London on May 11, 2015.
“Woolf Works” by Max Richter is published by Mute Song Ltd.
Production Credits
For the Royal Ballet:
Scenic Consultant BARRY LYNAM
Scenic Consultant JACK BULLOCK
Lighting Consultant BILLY SLOCOMBE
Makeup Consultant JIN HO KANG
Wardrobe Consultant ILARIA MARTELLO
Audio/Video Consultant GUISEPPE LUBRANO
Laser Effects provided by LCI Productions, London
Video Programmer MATTHEW MELLINGER
Lighting provided by Volt Lighting, Burbank, CA
Video equipment provided by Brite Ideas, Santa Margarita, CA
A triptych of ballets drawn from Virginia Woolf’s landmark novels Mrs Dalloway, Orlando, and The Waves with elements of her letters, essays, and diaries, Woolf Works explores the collision of form and substance in Woolf’s writings—a recreation of the vivid, impressionistic qualities of Woolf’s prose, where emotions and sensations take precedence over plot.
Woolf Works expresses the heart of an artistic life driven to discover a freer, uniquely modern realism and brings to life Woolf’s world of “granite and rainbow” where human beings are at once both physical body and uncontained essence.
The work sees Wayne McGregor reunited with acclaimed British composer Max Richter who creates a specially commissioned score incorporating electronic and live music, with set designs by architectural practices Ciguë and We Not I alongside costume and lighting designs by long-time collaborators Moritz Junge and Lucy Carter.
Leadership support of ABT’s New Works Initiative is provided by the Blavatnik Family Foundation, Mark Casey and Carrie Gaiser Casey, The Ted and Mary Jo Shen Charitable Gift Fund, and through an endowed gift from The Toni and Martin Sosnoff New Works Fund.
The children appearing in this production are students at the ABT William J. Gillespie School.
With special thanks to the Estate of Virginia Woolf and The Society of Authors as the Literary Representative of the Estate of Virginia Woolf.
Synopsis
I now, I then
Mrs. Dalloway, Woolf’s 1925 stream-of-consciousness novel, is set over the course of one day and alternates between two stories: a society hostess preparing for an important party and a shell-shocked war veteran on his way to a psychiatric assessment. Though they never meet, both Clarissa, the protected insider, and Septimus, the social outcast, are haunted by the past.
Opening with an excerpt from Woolf’s recorded essay, “On Craftsmanship,” I now, I then is a journey into the writing of Mrs. Dalloway, interweaving narrative fragments from the novel with aspects of Woolf’s autobiography, including the experience of drawing on her own mental illness as subject matter.
Becomings
“on or about December 1910 human nature changed” —Virginia Woolf
Written in an epoch of recalibration in every sphere including the roles and rights of women, modes of representation in art and literature, and rapid advances in cosmology, Woolf’s iconoclastic 1928 novel Orlando centers around a fantastical figure who journeys through three hundred years without growing old and changes sex along the way. Relationships prove transient, even with himself, while relativity and plasticity define her experience of time and space. Becomings presents Orlando’s dizzying wide-angle vision of a vast, ever-altering universe in which life is energy passing through a multiplicity of forms—a brief, gorgeous flaring of insect wings, gestating, emerging, extinguishing and moving on.
Tuesday
Grand and elegiac, The Waves (1931) is Woolf’s most experimental novel, conceived in response to her own childlessness and the contrasting fierce maternity of her sister Vanessa. In the novel, the voices of six people growing from childhood to old age are punctuated by symbols of natural decay and renewal, the most important of which is the ever-returning sea. Responding to Woolf’s unique fascination with underwater imagery in all her writing, Tuesday merges themes of The Waves with a portrayal of the writer’s suicide by drowning. As Woolf counts her steps towards the river Ouse and her final journey, so too the world of her novel moves towards abstraction and silence.