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The words briefly form columns then gather to create an image of the authors face before dissipating as Alessandra Ferri is revealed on stage in the guise of Woolfs character Clarissa Dalloway. So begins Woolf Works, Wayne Mc. Gregors first full length work, created in 2. The Royal Ballet where he has been Resident Choreographer since 2. For the ballet which is constructed as a triptych Mc. Gregor draws on three landmark novels by the groundbreaking, experimental English novelist Mrs Dalloway, Orlando and The Waves. Alessandra Ferri in I now, I then from Woolf Works. Photo Darren Thomas. On the face of it, it seems an unlikely subject for Mc. Gregor who is best known for his cerebral, abstract, conceptual dance works that frequently draw on science even though Woolfs writing has a rhythmic, musical quality. In fact, says Mc. Gregors dramaturg Uzma Hameed in her programme notes, Woolf wrote The Waves while listening to Beethoven. But any hesitations are quickly swept aside. Woolf Works proves to be a thrilling ballet mixing Mc. Directx 7 For Windows 8. Gregors signature high speed, extreme movement style with a more traditional, classical technique to offer a powerfully moving exploration of memory, the passing of time, past decisions and perhaps regrets. Whats more, the chance to see the Royal Ballet performing in Australia for the first time in 1. Choreographed to a new score by German born British composer Max Richter, Woolf Works begins with I now, I then inspired by Woolfs 1. Mrs Dalloway about London society hostess Clarissa Dalloway who is preparing for a party, and returned soldier Septimus Warren Smith, who is suffering from Post Traumatic Stress Disorder. Mc. Gregor has pared back the action to focus on the central characters, and uses a classical, lyrical vocabulary. Architectural team Cigu has designed a monumental set with three huge wooden frames that move slowly to create an ever changing spatial dynamic, onto which grainy video footage is projected. I now, I then slips back and forth in time as Clarissa now married to the kind but rather dull Richard Dalloway recalls her younger self, her friend Sally and former lover Peter. The traumatised Septimus, meanwhile, is haunted by hallucinations of his close friend Evans who died on the battlefield. Italian ballerina Alessandra Ferri is exquisite as the older Clarissa. Ferri, who was a Principal with the Royal Ballet early in her career before going on to huge international success, is now 5. As an older dancer, she has a different movement quality to the other performers, which makes for a touching contrast when Beatriz Stix Brunell appears as the younger Clarissa, exuding a youthful, impulsive vitality, together with Federico Bonelli as Peter and Francesca Hayward as the ebullient, will o the wisp Sally. As Clarissa steals a quick kiss from Sally, we feel her yearning for something lost. Edward Watson, meanwhile, is riveting as Septimus, initially seen tearing at his skin and moving his limbs as if his own body is alien to him, belonging to someone else. Staring at a vision of Evans, played by Tristan Dyer, Watsons Septimus cuts a tragic, tormented figure. When he falls, as if felled rather than swooning, and is caught by Evans, it is a heart stopping moment. In the novel, Clarissa and Septimus dont actually meet the link between them comes when the doctor attending Septimus attends her party with his wife and tells her guests about the young mans suicide. Here, Mc. Gregor brings the two of them together for a poignant pas de deux. Septimuss tender duet with Evans is another highlight, intimating that their relationship might have run deeper than good friends. Occasionally, Richters lush, elegiac music swells to become so emotionally heightened that it threatens to overwhelm the moment, but then the score quickly pulls back and quietens before building again. A knowledge of Woolfs novel, or at least the bare bones of it, is helpful to get the most from Mc. Gregors interpretation, but even without that its a gorgeous piece. Natalia Osipova in Becomings from Woolf Works. Photograph Darren Thomas. The second section, Becomings, is based on Woolfs picaresque 1. Orlando, about a male poet who travels through time from the Elizabethan era to the 2. Mc. Gregor has said that he was attracted to this romp through 3. Woolf was super interested in science fiction, in astronomy and things other, so it really suited my alien aesthetic. Becomings does indeed have a sci fi feel. It begins in darkness with 1. Elizabethan inspired, gold lam costumes while a spotlight swoops over them. Rather than following the narrative of the novel, Mc. Gregor unleashes a torrent of frenetic choreography to Richters pulsing score, which uses a repeating base line. A variety of lasers slice the air, becoming increasingly colourful as they illuminate the darkened space. The costuming plays with the theme of gender fluidity as gold outfits gradually give way to flesh coloured leotards with black trim. All the dancing is super sharp as bodies bend and stretch, and legs and arms slice and whip in extreme, hyper physical movement. Russian born prima ballerina Natalia Osipova, Australian born Principal Steven Mc. Rae and Edward Watson are standouts, contorting and spinning faster than seems humanly possible. Osipova is so lithe and flexible, its as if shes boneless. Little of Woolfs novel remains, but Becomings is quite a trip and a lot of fun. Steven Mc. Rae in Becomings from Woolf Works. Photograph Darren Thomas. Woolf Works culminates with Tuesday, based on Woolfs 1. The Waves, which flows between the interior monologues of six characters, and descriptions of a coastal walk. In his response to the novel, Mc. Gregor includes flashbacks of Woolfs life. Woolf committed suicide in 1. River Ouse near her home with stones in her pockets and drowned. Tuesday opens with a recording of her suicide note to her husband read by Gillian Anderson. The choreography a return to a more classical technique, Richters lovely, wistful music and the staging are all inspired by waves with slow motion video footage by film designer Ravi Deepres of a surging sea as the evocative backdrop. A vivid soundscape by Chris Ekers of crashing waves, seagulls and children at play adds plenty of vivid atmosphere. Ferri is extraordinarily moving as Virginia Woolf. A pas de deux with Federico Bonelli at the beginning looks almost as if they are moving together through or under water. The appearance of Itziar Mendizabal with a group of young children playing with skipping ropes, whisks Woolf back to childhood as Mc. Gregor explores the journey through life and the passing of time. Alessandra Ferri and the Royal Ballet in The Waves. Photo Darren Thomas. As Tuesday builds, a large ensemble of dancers swirl around Ferri in a wave like motion. What the strange facial adornments were supposed to signify seaweed Im not sure. No matter. Finally, the ensemble slowly disappear back into the darkness, leaving Ferri and Bonelli. As he gently lays her down on the stage, the curtain falls. Its a profoundly moving ending.