Review: THE LEGEND OF SLEEPY HOLLOW at Arkansas Museum Of Fine Arts in Little Rock

Ballet Arkansas once again proved that storytelling through movement can be just as chilling and evocative as any spoken tale with The Legend of Sleepy Hollow, which haunted the Arkansas Museum of Fine Arts October 9–12. Choreographed by the ever-brilliant Michael Fothergill, this adaptation of Washington Irving’s ghostly classic mesmerized audiences with an intoxicating blend of grace, suspense, and gothic beauty—all set to an exquisite score featuring music by Dimitri Shostakovich, Francis Poulenc, Alfred Schnittke, Benjamin Britten, and Arnold Schoenberg. 

Set in the quaint yet superstitious village of Sleepy Hollow, the story follows schoolteacher Ichabod Crane as he competes with the boisterous Brom Van Brunt for the affections of the lovely Katrina Van Tassel. But after a fateful night at the Van Tassel harvest celebration, Ichabod’s pursuit takes a terrifying turn as he encounters the fearsome Headless Horseman, said to haunt the woods in search of his missing head. The line between legend and reality blurs, leaving the audience to wonder what truly became of the ill-fated Ichabod. 

Their storytelling for this production was especially strong, layering emotion and mystery in ways that left me deeply intrigued. My sympathy went to Katrina, whose tender heart was caught between her father’s will and her own desires—torn by the pressure to marry the man of her father’s choosing. Then, when the Headless Horseman appeared, suspicion crept in: was he truly the ghostly terror the townspeople feared, or was Katrina herself pulling the strings? The Playbill even hints that “no one leaves entirely fulfilled,” and I agree. As the curtain fell, I found myself still questioning motives and outcomes, which is exactly why this became one of my favorite “Halloweeny” shows of the season. 

From the opening sequence, Fothergill’s choreography captured the eerie undercurrent of mystery that defines Sleepy Hollow. The movement vocabulary was expansive—fluid when depicting the pastoral life of the village, and jagged and frenetic when the supernatural began to creep in. Combined with the atmospheric lighting and haunting music, the entire production felt like a dream teetering on the edge of nightmare. 

Benjamin Piner brought a scholarly charm and lanky humor to Ichabod Crane, his movements filled with fluttering curiosity that perfectly mirrored the character’s superstitious nature. As his rival Brom Van Brunt, Keith Newman was all strength and swagger, with his bold, athletic style providing a dramatic grace. Brittany Dowsy was luminous as Katrina Van Tassel, her lightness of step and emotional depth giving her a sense of longing and quiet power. William Heide’s Baltus Van Tassel carried a stately dignity, while Aldrin Vendt’s Obediah Alldridge and Allen Sizemore’s Samiel Irwin brought dynamic energy to their roles. 

Some of my favorite moments were when the love triangles unfolded on stage. The tension between Ichabod, Katrina, and Brom Van Brunt was rich with drama with each dancer portraying their character’s yearning, jealousy, and heartbreak through every lift and glance. Equally compelling was the triangle involving Katrina, Meridith Loy’s Esther Rose Crombie, and Brom, where loyalties and emotions seemed to blur just as hauntingly as the story’s supernatural elements. These tangled relationships added depth to the narrative, showing that the true ghosts of Sleepy Hollow might just be the desires and regrets haunting its villagers. 

The appearance of Liev Ewart as the Headless Horseman was nothing short of thrilling. His entrance sent shivers through the audience with the power in his leaps, the menace in his silhouette, and the way Fothergill used shadow and stillness to make him both terrifying and beautiful at once. Deanna Stanton as Abigail Winter and Kerridwyn Schanck as Anne Bartlett rounded out the ensemble with elegant precision, their every gesture steeped in storytelling. The ensemble of townsfolk—Sage Feldges, Leah Norwine, McKenna Ulbrick, and Claire Churchill—added texture and rhythm to the piece, weaving transitions that carried the narrative seamlessly from one haunting scene to the next. 

One of the things I adore about Ballet Arkansas is their commitment to artistic equity within their company. By rotating lead roles throughout performances, they allow dancers the opportunity to explore new challenges and shine in fresh ways. This not only showcases the depth of talent within the troupe but also ensures that each performance feels uniquely alive. 

The Legend of Sleepy Hollow was not merely a retelling, it was a dramatic experience that enveloped its audience in ghostly atmosphere and breathtaking artistry. Ballet Arkansas continues to push the boundaries of what narrative ballet can achieve, merging technical mastery with emotional resonance. With this spine-tingling success, they’ve proven that even without words, a well-told tale can still make your heart race and your imagination soar. For upcoming performances and company information, visit their website at www.balletarkansas.org. 

Arkansas Awards - Live Stats

Best Musical - Top 3

1. THE WIZARD OF OZ (Arts One Presents)

12.5% of votes

2. CINDERELLA: THE BROADWAY VERSION (Arkansas State University Theatre)

12.3% of votes

3. TUCK EVERLASTING (Harding University Theatre)

10.9% of votes

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