By: PR Fueled
Maria Caruso’s Incarnation, performed in October 2024, marked a groundbreaking moment for Theatre Royal Drury Lane, as it became the first full-length solo dance performance to ever take place in the venue’s long history. With a legacy spanning more than three centuries, Drury Lane is better known for hosting grandiose productions—musicals, operas, and plays—rather than intimate solo performances. This bold choice by Caruso made waves not only for its emotional depth but for the very fact that it was performed on such an iconic stage.
While Incarnation is the first solo show of its kind at Drury Lane, the theater has previously hosted solo dances, though only as part of “entr’actes”—short performances given between the acts of larger productions. During 1725-1726, several solo dances were performed, including Passacaille, Harlequin, Peasant, Drunken Peasant, and Spanish Entry. A notable example is Miss Robinson’s solo Passacaille performed on October 2nd of 1725. However, these were brief, secondary to the main production and not full-length performances.
An “entr’acte” is a form of intermission entertainment designed to fill the gap between the acts of a play or opera, keeping audiences engaged while the stage is reset for the next act. Unlike these short dance interludes, Caruso’s Incarnation filled the entire evening with a full narrative and emotional arc, making it a monumental event not only in her career but in the history of this prestigious theater.
Caruso’s decision to perform a solo piece in such a large venue garnered both admiration and critique. Thematically, Incarnation builds on Caruso’s 2022 show Metamorphosis, exploring themes of personal transformation, trauma, and resilience. The performance was marked by powerful choreography, emotional storytelling, and the use of simple but symbolic props.
Many critics were moved by Caruso’s emotional depth and the visual spectacle she created onstage. The Spy in the Stalls described her as “a meticulous performer; each step choreographed with a purpose” and noted that while the vastness of Drury Lane initially seemed too large for a solo work, Caruso filled the space with her “personality” and made her presence known through carefully crafted movements. The review further noted the performance’s simplicity, with a minimal set that allowed the emotional journey to be at the forefront: “There is a powerful defiance that fuels the dance routines.”
The Reviews Hub similarly highlighted the emotional impact of Caruso’s performance, calling it “poignant and powerful.” The use of costumes and props, such as the chair and mirror, were praised for how they symbolized different phases of her journey: “Caruso’s mastery of dance and her physical storytelling are clear highlights.” The piece was described as visually striking, with well-integrated technical elements such as lighting and projections adding to the depth of the performance.
Ryan Onestak’s musical score for Incarnation played a central role in complementing Caruso’s choreography. His compositions were noted for blending elements of film, television, electronic music, and influences from Steve Reich and Radiohead to create a rich auditory backdrop for her movements. The score effectively contributed to the narrative, helping to heighten the emotional weight of Caruso’s storytelling and adding layers to the visual elements of the performance.
Some reviewers found it difficult to connect with the deeply personal story of a woman’s life and instead only focused on the structure and choreography. Nonetheless, other reviewers, such as Lou Reviews appreciated the vulnerability and emotional risks Caruso took in unearthing such topics, even if the narrative sometimes felt challenging. Perhaps the work was easier to connect with for female writers. Groundbreaking performances sometimes challenge the audience in non-predictable ways. A key element of the performance was a highly unusual 30-minute Q&A session following the intermission. There, Caruso engaged with the audience on a personal level. These discussions offered an opportunity for deeper exploration of the traumatic themes of the performance, including miscarriage, sexual violence, and body dysmorphia.
Staging Incarnation at Theatre Royal Drury Lane was a bold and ambitious move. Solo performances are rare in such a large venue, and the very act of presenting an intimate, emotionally driven solo dance performance on a stage known for elaborate productions is groundbreaking. Historically, Drury Lane has been home to ensemble casts and lavish set designs, but Caruso proved that a single performer, with the right intensity and choreography, can command even the grandest of spaces.
In addition to the live performances, Incarnation was filmed for streaming, with its estimated premiere expected in early 2025. As the performance reaches a broader audience through streaming platforms, it will be interesting to see how film critics respond to the production. The medium of film may offer a different perspective on Caruso’s work, potentially enhancing certain visual aspects and allowing for closer scrutiny of her choreography and emotional expressions. As the streaming release approaches, anticipation builds around how this bold stage performance will translate to the screen. Who knows, we might even see the work back on stage again.
Maria Caruso’s Incarnation was not only a unique artistic statement but a significant moment in the history of Theatre Royal Drury Lane. While critical responses varied, there was unanimous recognition of the boldness of the endeavor and Caruso’s ability to bring deeply personal storytelling to such a vast stage. In this sense, Incarnation set a new precedent for solo dance performances at the iconic theater, proving that even the most personal narratives can make an impact on the grandest of stages. With the upcoming film release, Caruso’s groundbreaking work will continue to engage audiences, offering fresh interpretations and insights into her powerful performance.
Published by: Martin De Juan
