“Chrysalis, the second ballet of the evening and a world première, showcases not just the talent of RNZB choreographer-in-residence Shaun James Kelly but fashion designer Rory William Docherty, set to the music of Philip Glass (‘Metamorphosis’) with lighting design by Daniel Wilson.
The description published by Lucire in May does not do the ballet justice. We described Kelly’s themes of ‘friendship, connections, relationships and self-discovery’, and how those we encounter alter our paths. However, visually this is a far more ingenious ballet and depends on Docherty’s costume designs as much as the choreography.
Two dancers appear dressed in heavy coats, the tailoring hinting at social position and profession. Kelly based the opening pair on his parents. Docherty wanted these opening costumes to convey convention, what people believe they “should” wear in society. The garments, even fedora hats, however, are incredibly light and translucent: there are even pinstripes and Prince of Wales checks stitched into organza. As the dancers remove their outer layers, thereby freeing themselves from the restrictions of society, you notice how sheer and fine they are. Docherty cites Martin Margiela, late-’70s–early ’80s Yves Saint Laurent and Yohji Yamamoto as inspirations.
Hangers drop from overhead and before long there are half a dozen coats and dresses suspended over the stage.
Each of the dances feature the shedding of layers to reveal the person’s true self. Kelly also wanted to demonstrate how our everyday clothes themselves are costumes that show whether we conform or not.
One powerful moment in Chrysalis sees one dancer reach for her suspended dress, a momentary desire to mask her true self—a reminder that not everyone is ready to transform or show themselves authentically. But ultimately, each member in Chrysalis’s cast finds their personal growth.”
Reviewed by Jack Yan, Lucire
