ABT 2024: Crime and Punishment

Christine Shevchenko and Calvin Royal III in Crime and Punishment. Photo: Kyle Froman.

On November 1st, 2024, American Ballet Theater presented the third performance of Helen Pickett's 'Crime and 'Punishment.' With score by Isobel Waller-Bridge, this adaptation of Dostoyevsky's acclaimed novel boldly grapples with its source's haunting themes while condensing the drama to a frenzied point as only dance can. 

The work is broken into a series of twenty-odd scenes which last around three to five minutes each, but create a constantly changing stage as the corps hustled to assemble themselves and the minimalist set. While I generally prefer fuller stagings to conceptual ones, the drab grays and blues of the costumes, as well as the simple wooden blocks and metal railings, were very effective in conjuring up the gritty, psychologically-focused atmosphere. 

Less effective were the video overlays which featured at moments where Raskolnikov's guilt and mental state reached their breaking point; though it does fill the space with blurry imagery alluding to his crime, it didn't add much else during its appearances. The production also includes supertitles to ground and contextualize the scenes with a brief phrase, an aspect which now and then felt redundant when it didn't provide much beyond what the audience can already see the dancers embody, such as "Raskolnikov awakes in a cold sweat." 

The choreography blends modern and traditional influences to create a very distinct vernacular which is consistent throughout and mostly enjoyable to try and decipher. There are more than a few moments where impassioned miming are employed to convey some of the character's more nuanced emotions; despite these instances, the dancers themselves had no shortage of articulacy to carry things forward without losing the viewer. Most scenes keep the movement around a grounded, natural dynamic, making the more technical passages shine all the brighter.

Breanne Granlund in Crime and Punishment. Photo: Kyle Froman.

In the role of Raskolnikov, Breanne Granlund was a powerhouse of emotional and physical complexity, with the student's tortured psyche serving as a potent springboard for the unfolding drama. Despite the fervency which carried her for most of the scenes, Granlund was more than up to the task and made for a turbulent and exciting focus during her time on stage. Whether it was in moments of crazed suspicion amongst Raskolnikov's family or against Thomas Forster's Detective Porfiry, or among the more sentimental moments with Sonya, Granlund was a highly effective lens for the story to develop through.

As his friend, Razumikhin, Calvin Royal III wonderfully fleshed out the arc of romance which arises with Christine Shevchenko's Dunya. Emerging from the vibrant, jazzy ensemble of the earlier scenes, it was satisfying to watch him and Dunya gradually come together, resulting in a gorgeous pas de deux which was one of the work's high points. With so much emphasis on the darker, psychological themes which make up the story, this moment between the two of them was one of pure beauty thanks to their breathtaking artistry.

Speaking of moments of beauty, Fangqi Li was highly moving in her portrayal of Sonya. The chaos of the earlier scenes were often broken as the focus and drama stilled on her tragically beautiful adagio, seeming to float above the pain of the mundane world. These moments would become the basis for her later scenes with Raskolnikov, where her calming presence played successfully with his exhausted bearing. 

As Dunya's fiancé Luzhin, Joseph Markey held a fine charm in earlier scenes which was gripping to watch melt away as the engagement fell apart over the course of the work. The courtly, lyrical gestures and partnering were replaced with fuming pivots, hops, and turns as events with the family soured and he rebuffed, and ultimately abandoned, Dunya. Markey displayed impressive control of his form throughout, excelling in his ability to convey intention through movement.

Scene from Crime and Punishment. Photo: Kyle Froman.

The corps were in excellent form this evening as they navigated the sections which ranged from an oppressive unison to represent the masses as they languished or gathered to accuse the paranoid Raskolnikov, or the scattered revelry of the bar scenes as couples swooned and drank until they dropped. The cast featured a number of smaller roles which did much to flesh out the community, such as Roman Zhurbin as Marmeladov, whose inebriated moves were an early source of humor until his sudden passing; or James Whiteside as Svidrigailov, whose lusty advances towards Dunya was a wellspring of antagonism as he tried to bend her to his will.

While some moments were blunted by the conceptual approach to staging, overall 'Crime and Punishment' is a highly fascinating work to engage with. Though there are numerous scenes, the time passes quickly and without being bogged by the sheer depth and introspection which comprises the source work. Performances like Friday's make a powerful argument in favor of a place in ABT's modern repertoire. While the company's Fall season has ended, lovers of dance and complex tales of personal redemption will not want to miss the chance to see this work when it rears its head once more.

- written by Logan Martell