Quick Read
- Wayne McGregor’s “Woolf Works” ballet returns to the Royal Opera House in February 2026, a decade after its premiere.
- The revival coincides with McGregor’s new book, “We are Movement,” published in January 2026.
- His “Infinite Bodies” virtual performance exhibition is running at Somerset House until February 22, 2026.
- Another installation, “On The Other Earth,” launched in October 2025 at Stone Nest, is a post-cinematic choreographic experience.
- “Woolf Works” adapts Virginia Woolf’s novels into three acts, featuring a Max Richter score and narration by Gillian Anderson.
LONDON (Azat TV) – Wayne McGregor’s acclaimed ballet “Woolf Works” returns to the Royal Opera House this February, a decade after its groundbreaking premiere, marking a significant moment in the celebrated choreographer’s career. The revival of this transcendent work, inspired by Virginia Woolf’s literary masterpieces, coincides with a broader “McGregor Moment” in 2026, which includes the recent publication of his new book, “We are Movement: Unlocking Your Physical Intelligence,” and the ongoing “Infinite Bodies” virtual performance exhibition at Somerset House. This confluence of events highlights McGregor’s enduring influence and his continued exploration of movement, technology, and interdisciplinary art.
A Decade On: The Return of ‘Woolf Works’
“Woolf Works,” which first captivated audiences in 2015, is a three-act ballet delving into the rich narratives of Virginia Woolf’s “Mrs Dalloway,” “Orlando,” and “The Waves.” Set to a poignant score by Max Richter, the production distills the emotional textures of Woolf’s writing into a powerful dance experience. The opening act, “I Now, I Then,” portrays a day in the life of society hostess Clarissa Dalloway, featuring minimalist shifting boxes designed by Ciguë and a soundscape interspersed with 20th-century London sounds. Principal Sarah Lamb performs the nuanced role, beginning with a BBC recording of Woolf speaking ‘On Craftsmanship’ from 1937.
The second act, “Becomings,” marks a visual and thematic shift, exploring time travel and gender fluidity. Dancers, including Marcelino Sambé and Fumi Kaneko, are adorned in gold-foil Elizabethan attire by Moritz Junge, moving amidst vibrant strobe lights and an electro-infused soundscape. This high-energy segment is a “heart-rattling romp through 300 years of history,” faithfully adapting Woolf’s “Orlando,” as noted by Tatler. The final act, “Tuesday,” inspired by “The Waves,” offers a darkly emotional meditation on life and death. With a seascape backdrop and urgent music, it features Gillian Anderson’s haunting narration of Virginia Woolf’s suicide letter to her husband, Leonard Woolf. Dancers Sarah Lamb, Ryoichi Hirano, and Nadia Mullova-Barley return for this “emotionally fraught and intentional” conclusion. The ballet is praised for its ability to piece together vastly different acts into a cohesive and poignant interpretation of literary genius.
The Broader ‘McGregor Moment’ of 2026
The return of “Woolf Works” is not an isolated event but rather a central pillar in what is being termed a “McGregor Moment,” showcasing the choreographer’s multifaceted contributions to contemporary art. In January, McGregor released his new book, “We are Movement: Unlocking Your Physical Intelligence,” further cementing his intellectual and practical contributions to understanding human physicality. Simultaneously, his innovative spirit is on full display at Somerset House with the “Infinite Bodies” exhibition, which runs until February 22. This virtual performance exhibition offers visitors a multi-sensory experience, integrating dance, technology, and visual arts through collaborations with artists and musicians like Radiohead and The Chemical Brothers, as reported by Filmogaz.
“Infinite Bodies” features interactive installations such as AISOMA, an AI tool allowing visitors to create performances using McGregor’s archive, and OMNI, a visually striking piece combining choreography and visual effects from Industrial Light & Magic. Other highlights include light installations like “Future Self” and “No One is an Island” by Random International, emphasizing human-machine interactions, and “A Body for AI,” a sculpture by Ben Cullen Williams reflecting on identity in a technological context. Furthermore, McGregor’s “On The Other Earth,” launched in October 2025 at Stone Nest in London’s West End, is recognized as the world’s first post-cinematic choreographic installation, providing an immersive, hyperreal dance experience through collaboration with Company Wayne McGregor and dancers from Hong Kong.
McGregor’s Vision: Blending Dance, Technology, and Narrative
Wayne McGregor has consistently pushed the boundaries of dance, integrating cutting-edge technology and diverse artistic disciplines to create transformative experiences. His current projects, from the revival of “Woolf Works” to the immersive “Infinite Bodies” and “On The Other Earth” installations, underscore his commitment to redefining how audiences perceive movement and interaction in artistic forms. Whether through adapting literary classics or exploring human-machine interfaces, McGregor’s work consistently challenges traditional performance paradigms, inviting engagement with profound themes of memory, identity, and the evolving nature of the human body in the digital age. The widespread attention, including a visit from the Princess of Wales to “Woolf Works,” further signals the cultural impact of his current endeavors.
The simultaneous presentation of a major ballet revival alongside new literary and technological exhibitions positions 2026 as a pivotal year for Wayne McGregor, demonstrating the breadth of his artistic vision and and his unique ability to bridge classical forms with avant-garde innovation, thereby expanding the very definition of contemporary dance.