Breiner’s creative decisions in the second act can only be described as gutsy. On the one hand she incorporates German theatrical conventions, literary metaphors etc., yet on the other presents a perspective on the experiences of Jewish Europeans at the mercy of National Socialism that deviates from formulae typically seen in provincial municipal theatres. In the final moments of the ballet, Salomon and Death perform an emotionally fraught, technically challenging, balletic pas de deux. Breiner has stated in promotional material that the scene intended to show Salomon confronting death and struggling for life, however it also hinted at something much darker. Salomon is not only a passive partner being led, she actively leaps into Death’s arms. Salomon gives into Death’s prevailing influence and with his hands covering her eyes, the dancers exit through the proscenium one final time.
– LUKE AARON FORBES
Excerpt of an article published by Dance Europe, Issue 194, April 2015. Purchase the entire issue here: http://www.danceeurope.net/store/issue-194