Review Roundup: WOOLF WORKS at Royal Ballet And Opera

The Royal Ballet is presenting a revival of Wayne McGregor's acclaimed ballet triptych Woolf Works, inspired by the novels and autobiographical writings of Virginia Woolf.  

Receiving its premiere in 2015, Woolf Works was McGregor's first full-length work for The Royal Ballet and subsequently won both the 2016 Laurence Olivier Award for Best New Dance Production and the 2015 Critics' Circle National Dance Award for Best Classical Choreography. 

Woolf Works recreates the emotions, themes and fluid style of three of Virginia Woolf's celebrated novels - Mrs Dalloway, Orlando and The Waves - as well as elements of her autobiographical writings that echo aspects of her eventful life. With dramaturgy by Uzma Hameed, the ballet is presented as a series of multi-sensory collages, utilising designs from McGregor, Ciguë, and We Not I alongside costumes by Moritz Junge, lighting design by Lucy Carter, film design by Ravi Deepres and make-up design by Kabuki. 

In this revival, Royal Ballet Principal dancers Lauren Cuthbertson and Sarah Lamb make their debut in the role of Clarissa/Virginia Woolf. Principal dancers Marianela Nuñez and Natalia Osipova will also reprise the role during the run. See what the critics are saying...

Matthew Paluch, BroadwayWorld: What's truly interesting about the work is the reality/fiction crossover. The main role, danced by Natalia Osipova, is credited as Virginia Woolf/Older Clarissa in the first piece; I Now, I Then. So immediately, the boundaries of real and otherwise are blurred between Woolf’s actual life and the worlds she creates. This is a seriously interesting concept.

Teresa Guerreiro, The Times: As much of McGregor’s recent output, Woolf Works is not quite a ballet, but rather a show — as such, its crowd appeal is strong, though not universal.

Matt Wolf, London Theatre: Those unfamiliar with the novel may at times be puzzled – Eileen Atkins’s empathic 1998 film adaptation is worth honouring at this juncture – but Osipova is riveting throughout as she bustles between an unforgiving urban environment that pays her no heed and the haunted recesses of lived experience: the sad eyes near the finish say it all.