For me, these machines ruined the spectacle occupying too much space and destroying the allusion of nature suggesting sci-fi machinery in the Wild West landscape that resembled an outtake from Cowboys & Aliens.
Three giant wind machines dominated the stage, like huge one-armed bandits in a Las Vegas casino for giants, only the constant rolling of the three reels was devoid of any fruit, or other symbols, and there was no pay-out whatsoever. In particular, the staging is too busy and the stage too cluttered and my experience would have been greatly improved if the representation of incessant gales across the Texan desert had been handled with more imagination and some subtlety. Pita’s choice of Dorothy Scarborough’s desolate story of a young woman from Virginia, transported to the frontier waste lands of Texas, where she suffers prairie madness, is raped and shoots her abuser, seemed to be rife territory for Pita’s unique brand of spectacular dance theatre.īut, as they say, "there’s many a slip between cup and lip" and somehow the sum of all the many parts that make up The Wind fails to galvanise the brilliance that we have come to expect from this fast-rising choreographer.
After the huge success of The Metamorphosis, Arthur Pita’s adaptation of Kafka’s short story, made for the Linbury Studio Theatre – in the bowels of the Royal Opera House – back in 2011, this exciting choreographer’s debut production on the main stage has been eagerly anticipated.
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