A man falling in love with a bird is nothing new in ballet. Swans we've seen, now it's ravens. But even by ballet's fantastical standards, Wayne McGregor's Raven Girl is an oddity. Based on a new story by Audrey Niffenegger, it's the tale of a (human) postman and a raven who fall in love and give birth to a daughter with a serious identity crisis.
The look is based on Niffenegger’s aquatint illustrations, which are beautiful but also awkward, haunting and subdued, and all seen through a foggy haze. The visuals are striking, especially Ravi Deepres’s projections of flocking birds, but the atmosphere is cold. When Edward Watson’s postman meets his raven (Olivia Cowley) they really do seem like two different species. Cowley’s face is covered with a jewel-studded hood — a sort of Swarovski gimp mask — straining the connection between the couple. It’s a sense of alienation that’s often present in McGregor’s work, although his usually disjointed movement is dealt with with restraint (some of it you might even call lyrical).
Our Raven Girl (the ever-immaculate Sarah Lamb) looks human but longs to fly. She feels trapped in the wrong body, bringing up some interesting themes of body modification and gender dysphoria. There’s more to think about than in your average Swan Lake but it’s narratively unsatisfying. It feels like no other ballet, though, and that’s an artistic accolade.
The second half of this double bill, by the way, couldn’t be more different: tutus, smiles and breezy abstraction courtesy of Balanchine. Quite the palate cleanser.
Until 8 Jun (020 7304 4000, roh.org.uk)
