Works and Process ABT CRIME AND PUNISHMENT

With no inflection or tone that would suggest criticism, Director James Bonas tells the American Ballet Theatre dancers working on a scene for the upcoming story ballet of Dostoyevsky’s Crime and Punishment that they are doing it all wrong. Rodion Romanovich Raskolnikov— the troubled protagonist of the novel trying to morally justify his murderous acts— is remarkably and plausibly being danced by relatively diminutive stature ABT Principal Dancer Cassandra Trenary. In a violent outburst, Raskolnikov (Trenary) throws a chair across the room. As we had been primed to note by the rehearsal pre-talk, Trenary’s energy seizes the stage like a volcanic eruption as she dances. You too might be agreeing with ABT casting that she is a brilliant choice for this role. Bonas has another focus. He asks the other dancers — Wouldn’t people in a room tend to look at the loud crashing chair and somehow physically react rather than seeming as if they don’t really notice?

You too may experience this as an AHA! moment raising the curtain on the creative process at work—precisely the raison d’être of the Works & Process program.

ABT Artistic Director Susan Jaffe is the moderator, prodding Pickett, Bonas and Lighting Designer Jennifer Tipton to give us insights into their process in general and this Crime and Punishment work in particular.

We learn that Pickett and Bonas have been collaborators over many years and various works. The daunting task of distilling a 600+ page Russian novel known for its philosophical explorations into a story ballet begins with each independently reading the classic anew and noting the through lines of character and story development. They share notes and hone it down until the story is distilled into its essence and made choreography-ready. Pickett takes it from there, creating the first draft movements for each of the characters and scenes. What we see in open rehearsal is how flesh is added to the bones.

You too might feel that you would have preferred more dance and less talking heads. Then again, the Works & Process format is a stick-to-your-ribs heavy meal to digest and take with you to every dance performance you see going forward.