A Beautiful Accomplishment for Wayne McGregor

Woolf Works is without a doubt Wayne McGregor’s greatest choreographic achievement. Although the run has finished now with The Royal Ballet, it’s still planted firmly in my mind. I was lucky enough to see both Alessandra Ferri, who I saw premiere the role last time, and Mara Galeazzi who has been greatly missed at the Royal Ballet in recent years since her departure in 2013. I love their Italian connection as they seem to effortlessly convey passion and drama – something much needed when telling the story of Virginia Woolf and her characters. It’s an honour to watch the two perform this role, and for them to be supported by such a strong cast. Woolf Works is split into three acts, each one influenced by various novels by Virginia Woolf; however, Woolf’s voice never seems to be too far away, and her presence is clearly felt in each piece. Even the second act, the most ‘McGregor’ of the three, in all its epicness, still seems to draw on Woolf’s declining mental state.

When I first saw Woolf Works it was all about the first act for me. I was so moved by it and brought to tears when Septimus, the war survivor with post traumatic stress, dances with the ghost of his friend (or lover?). Edward Watson is of course made for this type of role. After all, he’s all mania and drama and his acting capabilities may rival Kenneth Branagh, but I think in this run I preferred Matthew Ball’s interpretation. It also helps to have someone in their twenties dance the role, as it made it so much more believable and heartfelt. A young man, tortured by what he’s seen at war, haunted by his friend and unable to reconnect with his wife. It’s heavy stuff, but Ball does heavy exceptionally well and he dances so well with the ever so talented Calvin Richardson (becoming a big favourite of mine) whose youthful presence also added to the heart breaking performance. On seeing this all again though, it’s the third act, based on Woolf’s novel The Waves and also heavily influenced by her suicide, which has moved me the most and which I am most impressed by. It begins with a reading of Woolf’s suicide note, so we know it’s not going to be happy act; however, there’s something so peaceful and spiritual about the movement which keeps it from being the type of MacMillan depressing stuff that makes you go home, open up the wine, and stare at the wall. Instead, it’s ethereal, beautiful choreography and the motion of waves throughout adds to its tranquil essence.

Woolf Works is McGregor in his finest form. There’s no pretence or waffle about what each move means, instead it’s choreography that not only tells a clear narrative but which also encompasses all of the feeling and angst in Woolf’s life. If you use the term genius for McGregor, which many leather booted Mohican sporting cool types do, it can really only be in relation to this. Nothing else that he has done can compete with the level he has achieved here. It’s a beautiful accomplishment and if he can do it again he’ll forever be loved by regular ballet watchers. Unfortunately, Multiverse followed and had many of us quietly whimpering from our seats, wondering why he was reverting back to that bleak 2009 period. Luckily I was at University during this time, so used heavy clubbing nights as a way to cure the pain of the McGregor forgotten works. Alas, we all have our bad spells and Woolf Works proves that McGregor can achieve something that we are not seeing enough of at the moment – a choreographic language that can tell a story, movement that can evoke deep emotion and a production that leaves you in awe for many days after. We can only hope that he moves forward with the likes of this side of his talent, otherwise all we can do is sit and wait for Woolf Works to return.

Mara Galeazzi Curtain Call after Woolf Works